







o o' 

>5 ^ 


<9 Z/j o': Jjj? S Z' > , A 

O* a, ' t-c A ■ N O' y ^ 

%. ' • 1 '* v> s' * * ^ "> * ’ " ° y * «*., %' * 1 ’’ 

^ it '>^ ~ iJ\ /l ^ <\ 

. .ffll' ^ ^ » 

.yv VV ° 0 ,i' ^ y' '*‘f, -* OOy/ ° y* ^ o 

^ V * 1J r " . ^ < c£* s ^ ^ ^ - A 

' ,o -‘>\-s V**’V'- i,, ^"*‘V 

A * <“ v2 0 Z^/r?7^, "1 Z 'TV * 

V.X <*. c^\\, ,s%. ^ . J-y Vz/yt 2 -* * JO <•. c-^iv 

'. 'oo' .Jgtf&: ^ t 

* H -t*. *t^>. ' x°°- 

C* °Z*. *■ ^UVXVv^ > 

^ .0 





r, ivt W •*> 

N .V 

.,S S :# . , <> 

G°‘ Z-r/ZZ 

- #te4 ~ ^ y 




- y* V XV v^ 
c£* y <* 

•iW* -v 

\ •%/ t 

^ P CCS 





& *+, 
A ,99 



° ^ 9 


.' .y .%%*,,,. vs 

\ V ,s»«r -> Q* »**», % ' 1 V N 

A A^ X* *£ 5) * *■£> 

*« ^ <A <* zZZ/\ A‘ t v\> 

^ ^ _ AWM/A o ^ ,^ v 

y. 



' : <Aszi A<z° ‘ >' j 

•* ' *b 0 ' :£$&* ^ y :4 

« ■ 1 » 9S * P\ /-, 


* aV ^ 
^ -V '9> » 

rU * 



o ' t- Z o' 

t %> *»n*' y 

^ c ^ V X , 

^ ° Z> ^ o 

^<A 21 / z 

^ ° r ^ ^ 

V ^ 9 

»*' s a° . la <9 

QV ^ V I 8 ^ 

0 v.' /r?5-, ^ ^ 

" ,j 




y,. 


^•‘y.-.V'" 

O /rv^S^m^- ^ <>> <t 

o x 



V .(fV V 

"oA^ 1 *.^'** 1 V 

0° i l ,y)fe,',> •# , c 

-^mAZA 'Z Z s 

A > 

\° 9< . » 


N 


"9y ^ ^ 

y 'wyir N 

O x / , s <C- 

""" G b^ 

’” ' - o0 ' t :imtZ+ O' 

* sO ■»&. * 





o iz/ f A . <^\ \ \V'‘ 50 4 \”^ J 

■* A <o^. 

^ t 0 N C , ^ ^ v 

JT> # ^ O C> 

V > 9 y* ^ ^ 

o /Vv ^ \ 



^ v\° J 'O. ^ ^ , ** AX' - d 

■0 T^^’/v,''’ V ^ ' 

° ^ y <* 

A* z 

o 


O 



' v *f \ W; / % 

' V N c , %■ "‘ ..s' A 1 ^ v , , C 

Ww> °o 0° V *» ^ 

' > A v < 



0 -V 


v 0 o 


N ^ ^ 

. oZZ^Z z ** z^ztz z 

• c ^ . v s^, > y a'* 

^ ' v , ^ c'O 

vr^ p c. 



’ V c»'9 7 ° ,<. ' « 4 % 

^ O . 0 . v fifrZ! 1 'P ,Z> 

' ■ * j&diZZ^ + V , v 4 

y v ^ S^\\l//C^' r A' ^ 

° o * mmZ&AZ^ * A K © 

<» 

» >*• 


® \ V 







































































& * ^ K 

v . ^ . *0 * 

>\s s V '*% * 9 H0 \<$* + '*0,°'% *'"* v vV o V w 9 N ° .0* *<*<>, -o 





4T >- 


*°°~ 7 

„ o ’* / v . e %, h » 

£ ;> cv\\ , o 

T> ac C\ \\ \6w\V 

/X>? 21 ^ Z 


A> ^ n 

* , A a \ \ 4 -~ ,s - .o' 

A c”"'. \ ” ^v-" 1 ' '•%, a A c“ N<I «,’*fe, ** .0* A' 

* c4S^v ^ f ^ C v X „ nsyi^ ** ^ j o- * f ^ Nx ^ O ' ^ 

rVV\\ 

o 




A°* 



G <> 


9 I A 


1*0 + 



O 


^ V 

o o x 

»' v ^ 

> i ’ *' \^.,. *•- *» 


<<f^ a 


11 * ’ ^ * V 1 » « ^ 

,*0 v -i *fj < 

* ^ $ 

'*S\ n * 

^xD c 



r- V. £> 

.' A>'-v 




A°< 



5> <•£> v ^Alrz^ s 

^ - r- ^ v. <k 

= <$> ^ » 

z -;. * 

° , v 5 *P <=> 

t o N 0 'V ^ ^ S S 0 ^ G * V 1 8 * Y 0 * * ^ a\ A c 0 1 

<v c^v - V , ^ 

-r ^ V 

« OO * 

<* i a. * 

7 ^ ', 

% *■ *7G*' v #' %/»»H»’a 0 ,. . „ ^ 

'i « o P G‘ V t s > j.0 « ^ a O 




, ♦ Q> ^ 

o u x “ ’-0, V s s ^ < G 

* <s^ A 1 ^ C° NC * , v b f 0‘ v*' 1 8,( 

' O ty _^$N rv ^ O V.> v v 



aV cT>^ 
v V <P. 




0 J) \ 


^ ^ X o' 

: x oc ^. * 

op C- 

N 0 " i * o » ^ * 8 1 ' 



^ v ^ 

o o' 





^ ^ > - v . , . 

<\ o y / s ^ <G 

-A / /“'•/o, ,0 V * l 

■i 'P v'^ ^ - a O 


X 0o x. 


o i ^ 1 “ u a c 


> v </> 


c/>^ 


'X 





<0 ° 

0 0N ° 0^ 
v jss^fffr^ A^> r 

-vV ^ ^ 

° ^ ^ 



G ^ 


^oo' 


O- * . 11* ■ ,« 


V * 0 „ 


/* 




•<<> 


zl 




° a^ ^ o 

* , ~*r- \ ' * 

N C °^^**' S / 

0 -? o ,0 k * * 





» * ^ ^ '. WS- « -V' 

-A r> S ^glly*JP \ ^ V- ^ y 

v ^ A O * / , s a 0 o i> x < 



r , 


K 0o -<. 





’bo' 


>A\#' 



■i 'P 




\° ^ - 


: ^ 
>. ^ 


> ^ 



A> </>^ 

4V 



/ , ^ ^ ^ i*o, s 


^ c,’ 


,To >° 0 ^ *^?V * 1 '■ v v \.'^;>/> # ^ 

V <p^ M ’^lllll^ ° ^ O 

• * * >*'“’ 1 / \^y: *‘''o4^X :>: yy^>i '“*' 

rvX . A v- V 








.* ,V° °* 

> * 

« -0 C' ^ 

„ ■> ^0 Jr 

o v ^ ' 0 /• o 

' % s - A 1&///A ; \ 




^o' 



9 l ' 



' ^ * -^ar f, 

v ^s *-v *> ' sho v°\ < *»:v * • 11 ” ^ ;> * 

<>- *$$€?$*%>, « j> ^ r r f 1 AS ^ 




A 


, .‘ll' '< °o 

^ 

*% ’ 




% 


* 


a0 o . 



o V ^ ^ 

It ^ ^ 

0, A A 

c ° '‘'An ^ ./ 





































































BOOK 

OF 

RALSTON CULTURE 


PHYSICIANS, 

PROCESSIONAL AND AMATEUR 
TEACHERS 


HOME ENTERTAINMENTS, CLASSES, SCHOOLS, SEMINARIES, 
COLLEGES AMD UNIVERSITIES 


f ISSUED BY 

RALSTON UNIVERSITY 

\ WASHINGTON, D. C. 








author 



°^^Se to 





1900 ; 

RALSTON PUBLISHING COMPANY, 

WASHINGTON, Ck C. 




OC.W’VJIMiV •» 



Library of Congrai* 
Office of tii« 



APP 2 7 1900 


Register of Copyright* 


Q. 3 £ 2 , 


NOTICE 


1 190U "|~HE price of this volume, including its several arrange¬ 

ments of the courses in physical culture, its music 
and training, is ONE HUNDRED DOLLARS. It is not 
offered for sale in any advertisement anywhere. ITS 
ACTUAL VALUE EXCEEDS THREE HUNDRED DOLLARS. 

if is presented TREE to every Star-Ralstonite of the 
Tenth Degree. 


INCLUDING THE EIETEEN DOLLAR LICENSE EREE. 




COPYRIGHT, 1900, 

BY 

RALSTON PUBLISHING COMPANY. 

All Rights Reserved. 



DEDICATION. 


■'1^0 those noble men and wom¬ 
en who were inspired with 
■ the ambition, and devel¬ 
oped the executive ability 
to reach the TENTH STAR-DEGREE, 
this great volume, with its system 
of training, is hereby dedicated, 
together with the cordial wish that 
each owner may win, through its 
aid, the full measure of SUCCESS. 


PLAN. 

yiHlS volume, is devoted to everything that can properly 

be classed under the head of Ralston Culture; and 
includes the following arrangement: 

1. ail the exercises of the Ralsfon Sysfem of Phy¬ 
sical Culture classified in SERIES, briefly described.^ 

2. ail the exercises In numerical order fully described. 

3. ail the music in numerical order. ! 

4. ail the exercises in SETS, arranged in progressive 
order, as taught in Ralston University, at Washington, D. C. 

5. ail the music repeated in the progressive order 
of the sets as used in Ralsfon University.'. 

6. a collection of the exercises scientifically arranged 
for younger pupils In the public schools. , 

7. a collection of the exercises scientifically arranged 
for older pupils in schools and colleges. 

5. The laws of grace and the conservation of energy. 

9. The MINUET. 

10. Entrance to RaLSTON NaTURaL COLLEGE, ac¬ 
companying the presentation of this volume to a Tenth 
Degree Star-Raistonite, will be seht the auTHORlZED 
LICENSE TO TEacH The Ralston System of Physical 
Culture. This license is a DlPLOMa based upon the 
possession of the full sets of exercises and music, and 
a recognition of the executive ability of the owner in 
successfully reaching the Tenth Star-Degree. 


riRST DEPSRTAACNT. 


Tfie Ralston Movement Cure. 


F OR years it has been our aim to perfect a system of 
exercises which might have a triple purpose; first, to 
enable a person whose bodily functions are disordered by 
reason of an unequal distribution of nutriment, to secure 
health where all other means fail; second, to provide at the same 
time a code of exercises of the highest hygienic value for individual 
home practice; third, to reduce to a scientific system the muscular 
tests of strength and endurance only so far as they are in harmony 
with health. 

The body is an absorbing and distributing machine. If the 
proper food is not eaten it is starved even by the glutton. If the 
proper food is eaten and the blood does not absorb it, ill health 
will surely follow; and it will be as often in the form of a blood 
disease or organic trouble, as in a special attack. If the proper 
food is eaten and absorbed, but not distributed, the body must 
suffer, and sickness must follow. These laws are absolute; and 
in them are found the explanation of many fatal maladies. 

Exercise is the only distributing agent in the body. Medicines 
may for a time scatter nutrition; but a terrible penalty must 
sooner or later be paid. The exercises of the following pages are 
in the form of a perfect system, and they employ, one after the 
other, every muscle in the body from foot to head. As soon as 
one muscle or set of muscles is set in motion another is operated, 
and so on in succession from part to part. The Ralston plan is 
thus unique and original; for no other methods have even at¬ 
tempted this arrangement of use and instant relief of successive 
muscles. The effect is magical! 

In undertaking to perform the movements, you are supposed 
to adopt all the suggestions of the second department in conjunc¬ 
tion with those contained in and following the present description 
of the illustrations. By all means practice in sets, as stated in the 
second department, where the numbers of each set are given. 

Do not trifle with any exercise by trying it a few times and 
then abandoning it. 

( 5 ) 




6 


RALSTON CULTURE 


The many blessings to the race that are derivable from 
the proper use of the Ralston System of Physical Culture compel 
every thoughtful man and woman to stop here and now for the 
purpose of surveying the field of opportunity. No one can afford 
to ignore these advantages, for there has come to us proof moun¬ 
tain high that the method is not only the best that has ever been 
produced, but is also the only thoroughly natural system of 
hygienic culture in existence to-day. Every part of its plan is 
founded upon some principle in Nature^ as may be seen by con¬ 
sulting the further pages of this department, as well as those of 
the next. 

Let ns compare methods. The first idea is that any exer¬ 
cise accomplishes good. This is true in the sense that any action 
is better than idleness, for the latter leads to decay. In one system 
of physical culture there are so many thousands of movements that 
he who would use them must have the skill of an Apollo, the 
strength of a giant and the brain of an Archimedes; yet the school 
committee of a city some years ago paraded their ignorance by 
advertising for teachers of physical culture who were qualified to 
teach that system in all its details. Working steadily ten hours 
a day, they could not perform the system complete in less than 
five years. It is well known to-day that the authors of cumbrous 
courses of training had no other object in view than to collect a 
vast mass of movements together in order to impress the public 
with their supposed value. Bulk does not determine value. Quan¬ 
tity must yield to quality. A ton of coal is not worth a tiny 
diamond, although both are made of the same material—carbon. 

The cumbrous system to which we refer is known as the 
Ling or Swedish method. It has proved so bulky that at one time 
it was abandoned as useless, though not worthless; and then again 
revived by culling out less than one per cent, of its mass, and 
rejecting the ninety-nine per cent, and more as not only unintelli¬ 
gible, but decidedly injurious. An examination of the whole or 
any part of the system will disclose but two natural principles 
involved in its workings; and these are inculcated and thoroughly 
used in the Ralston method presented in these pages. There is 
no other system of hygienic physical culture in the world to-day. 
An attempt has been made to brand the Delsarte training by such 
a name, calling it the French system; but this is wrong for two 
reasons; first, it has never been used in France for such a purpose, 


THE RALSTON MOVEMENT OURE 


7 


as Delsarte invented his movements solely to prepare pupils for 
the stage by the use of gestures and facial expression; second, the 
Delsarte physical culture exercises of this country are the sporadic 
invention of anybody and everybody who chooses to devise mus¬ 
cular movements; and, where they are not worthless, they are 
dangerous and lead to nervous prostration. 

One of the leading and most respected magazines of this 
country (Harper’s) recently classed the physical culture systems 
of the world under three heads: 

Ralston, or American. 

Ling, or Swedish. 

Delsarte, or French. 

The real facts are these: Ho man, woman or child in France 
ever heard of Delsarte physical culture; and as far as his methods 
of acting are concerned, they died in France with him, but were 
revived in this country merely because they were of foreign origin. 
The Ling system long ago fell to pieces of its own weight. There 
is no safe, scientific and hygienic system now in existence, except 
the Ralston; and it is the duty of every true American to exclude 
that which is foreign if if is inferior to the production of our own 
country. Ralstonites should take pride in their method, and 
should see to it that it is adopted in every school in our land. 

The beautiful exercises of this system add exquisite 
pleasure to the returning impulses of health. They tire without 
exhaustion, and their momentary tax is followed by a rebound of 
strength that invites new vigor. The remarkable principle of rest¬ 
ing one part of the body while working another has never before 
been applied either to hygiene or to general physical culture. The 
proof of the great value attached to the Ralston System has im¬ 
pressed itself on the thinking portion of the public in almost every 
important section of America. Teachers, schools and committees 
are rapidly adopting it. Physicians, who ordinarily cling to old 
notions, are willing to abandon their fixed ideas and recommend 
Ralstonism to their patients. 

One or two illustrations of this growing recognition may 
not be out of place. A prominent physician, who preferred the 
use of drugs to everything else, had for his patient a very wealthy 
merchant who had already suffered from too much medicine. He 
made a reverse contract by which he paid his doctor so much a 


8 


RALSTON CULTURE 


day for every day of freedom from sickness; and so much was 
taken off the hill for every day the merchant was ill. The use of 
medicines proved more and more disastrous, until finally the 
doctor, finding himself the loser, yielded up his prejudices and 
told his patient to take a new prescription—Ralstonism. As a 
result, the man got completely well, and has remained so. An¬ 
other doctor who a few years ago declared that he did not wish to 
have anything to do with Ralstonism, and predicted its end as a 
fad long before the close of the year 1895, recently made the fol¬ 
lowing statement: “I am ill at ease in my mind because of a gross 
injustice I have done the cause of Ralstonism, and I wish to say 
that I now recognize the value of the great work it is doing. Two 
patients of mine became pupils of your system of physical training, 
and thereby were cured of maladies that in my profession are 
regarded as hopeless. In this community I received a severe rebuke 
because I advised them not to take the trouble to learn the Ralston 
System, as I believed it would do them no good; and, when it 
actually cured them, I had to suffer.” He went on to say that 
Nature was the best medicine he could prescribe, and he gave 
practical proof of his earnestness by becoming a high degree Ral- 
stonite. Another physician wrote as follows: “It was at one time 
my belief that the spread of Ralstonism would lessen the income 
of the medical profession. I find from three years’ observation 
that it has driven the quacks, or some of them, out of practice. 
But the honorable doctors must prescribe Ralstonism as they would 
pure air and wholesome food; and they who do so win the greater 
confidence of the public. * * * To conclude, I may sum up 

with the remark that if the physician has an honest desire to 
restore his patient to immediate health he will prescribe Ralston¬ 
ism willingly; otherwise he will drag along for an indefinite period 
with medicines.” 

The fact that more than ten thousand persons have 
recently been advised by leading physicians to practice Ralston 
Physical Culture, whereas a few years ago nearly all doctors at¬ 
tempted to ignore Ralstonism, speaks conclusively of the growth, 
the strength and the permanency of the system. That it has come 
to stay is now admitted. The general public interest in it in cer¬ 
tain localities was ascribed to a fad some years ago. That time has 
passed. It is everywhere spreading, and is winning the good 
opinions of the intelligent classes. 


THE RALSTON MOVEMENT CURE 


9 


The Ralston Movement Cure. 

EXPLANATION. 

There are one hundred and two movements; of these there are 
seventeen series. 

Each series is devoted to a particular part of the body. 

In practicing the exercises the first of each series should he 
taken, and continued through the entire set. 

The easiest exercise is the first of each series; the most difficult 
is the last. In any series, each succeeding exercise is harder than 
the preceding; hut one series is no harder than another. 

FOR A BEGINNER. 

To one who is not used to muscular practice, any new move¬ 
ment will cause lameness. If, therefore, you do not become lame, 
the muscular movement is not new to you and will produce no 
special development. The lameness is sometimes severe, and may 
lead to a slight feeling of sickness. 

THE FIRST SET—FOR BEGINNERS, 

Figures 1, 7, 13, 19,“ 25, 31, 37, 43, 49, 55, 61, 67, 73, 79, 85, 
91, 97. These seventeen exercises are the first of their series, and 
the easiest. It will he noticed that they employ every part of the 
body, every muscle in turn, and every set of muscles, one after the 
other. The first set, therefore, would he a complete school of 
physical training in itself. 

Commit to memory the brief description given of each one; 
and spend time enough to absorb every part of each movement. 
Do not hurry. A glance at each description, or a hasty attempt 
to understand an exercise, will result only in flat failure. It is 
well to spend a week trying to learn one movement. After all, 
it becomes a matter of memory. 

WHY COMMIT THEM TO MEMORY. 

The Physical Culture Exercises, known as the Ralston Move¬ 
ment Cure, are new in every respect, although they contain the 
essential points of the most valuable of the preexisting systems 
of physical culture. They are the result of many years of careful 
study, preparation and experiment. Not one exercise is now given 
that has not been tested and watched in all its results under vary¬ 
ing circumstances and with different individuals. The movements 
are of standard value, and must sooner or Jater be so recognized. 


10 


RALSTON CULTURE 


In view of these facts, and after consultation with persons who 
are in a position to judge 1 , we are justified in saying that the 
Ralston System of Physical Culture will be universally taught. 

THE SECOND SET-FOR PROGRESSIVE BEGINNERS. 

Figures 2, 8, 14, 20, 26, 32, 38, 44, 50, 56, 62, 68, 74, 80, 86, 

92, 98. 

It will he noticed that in the first and in the second sets there 
are very easy movements or exercises, while in each of the remain¬ 
ing four sets they grow more difficult. 

It is both foolish and useless to attempt to perform the exer¬ 
cises in this or any subsequent set, before those preceding are com¬ 
mitted to memory and thoroughly performed. Good results can 
be obtained in no other way! If you desire to see how great the 
benefit may be, resolve to master one exercise perfectly before pro¬ 
ceeding to the next. 

THE THIRD SET—FOR ADVANCED BEGINNERS. 

Figures 3, 9, 15, 21, 27, 33, 39, 45, 51, 57, 63, 69, 75, 81, 87, 

93, 99. 

Do not attempt these out of mere curiosity. They are not 
beneficial until every exercise in the preceding sets can be skil¬ 
fully performed. 

THE FOURTH SET—FOR ENDURERS. 

Figures 4, 10, 16, 22, 28, 34, 40, 46, 52, 58, 64, 70, 76, 82, 88, 

94, 100. 

THE FIFTH SET-FOR THE STRONG. 

Figures 5, 11, 17, 23, 29, 35, 41, 47, 53, 59, 65, 71, 77, 83, 89, 

95, 101. 

THE SIXTH SET—FOR GRADUATES. 

Figures 6, 12, 18, 24, 30, 36, 42, 48,. 54, 60, 66, 72, 78, 84, 90, 

96, 102. 

HOW TO ENJOY THEM. 

Acquire a good memory. Learn the movements of each exer¬ 
cise, and be as familiar with each and all as if there were but one 
and you had mastered it. Know them by numbers. If some per¬ 
son should ask you how to perform 61, or 72, or 16, or 8, or 29, or 
any number, be so familiar with them by sets, series and figures, as 
well as by the analysis of movements, that you can both explain 
and perform them in the most thorough manner. Then you will 
always be at ease in the practice. 


THE RALSTON MOVEMENT CURE 


II 


Work is not exercise; it is work. It exhausts the vital¬ 
ity of one set of muscles, and then comes the fact that a chain is 
no stronger than its weakest link. The whole body is weary, the 
mind is tired out. We can easily prove that a body exhausted from 
toil may be rested by special exercises. The muscles, if properly 
used, may act for many hours daily and yet remain fresh all the 
while. Here are the facts: 

1. The results will not merely interest, they will cause won¬ 
derment that so much good can be attained so quickly. 

2. The progress will be speedy, clear, distinct, strong and 
lasting. 


3. The secret of what seems to be the most puzzling and mys¬ 
terious improvement is found in the amazing power of vitality 
which is derived from the continual shifting of action from one set 
of muscles to others in turn, producing, instead of weariness, a con¬ 
stant exhilaration and increase of strength. 

4. The body works, not like one machine, but like many, dis¬ 
tinctly separated in their uses. 

5. This is the only regime by which perfect appetite is estab¬ 
lished, perfect assimilation of food attained, and perfect nutrition 
secured for building up a new body. 

6. The exhilaration produced by Ralston Culture attracts the 
pure elements of the blood, destroys bad tissue, and creates good 
flesh. 


7. Over-development is due to fat, not flesh; and Ralston Cul¬ 
ture destroys this fat. 

8. Shrunken flesh, or thinness, is due to lack of nutrition, not 
in diet, but in the tissue-growth of the body. See No. 5, above. 

9. Ralston Culture differs from work in that it suffuses the 
body with a pleasurable excitement, and builds up a vigorous vital¬ 
ity; while work, without relaxation, deforms the shape, crooks the 
fingers, depresses the chest and bends the spine. 

10. These exercises will distribute the nutrition throughout 
the body more evenly and more perfectly than any other system 
of personal culture ever employed. 

Home entertainments are blessings in these days; and, 
with the music which abounds in this book, you should be able to 
spend many an enjoyable evening. If you wish to earn money, 
you may do so provided you have the ability which is implied by 
the fact that you have reached the Tentli Star Degree. 




/ 


12 RALSTON CULTURE 

r . x Iron Legs 



RalsfOQ Physical Culture. 






































































THE RALSTON MOVEMENT CURE 13 

Figure 1 . (In first set.) A body lacks health that is not able 
to sustain itself for hours on the feet. Sitting, lying down and 
weakness are related to each other. Vigor of health seeks the per¬ 
pendicular support of the body. In this first exercise you are 
called upon to test the strength of the legs by slightly bending the 
knees in a forward direction and straightening them again; repeat¬ 
ing the double action thirty-two times. 

Figure 2. (In second set.) Stand with the feet apart as far 
as possible without lowering the body much. On the first count 
of the music, sway to the right side, bending that knee while the 
other is kept straight. Then, on the second count, bend the left 
knee as the body sways to the left side, while the right leg is made 
straight. 

Figure 3. (In third set.) Stand with the heels together and 
the toes turned out to the sides. On the first count of the music, 
spread the legs apart at the knees only, as indicated in the illustra¬ 
tion. On the second count bring the knees together and straighten 
the whole body. Then so continue for thirty-two counts. 

Figure 4. (In fourth set.) The sets run crosswise from 1 to 
7 to 13 to 19, and so on, for the first; from 2 to 8 to 14 to 20, and 
so on, for the second. We now begin the fourth set. The series 
run in numerical order. Figure 4 is the first of the fourth set and 
the fourth of the first series. It consists of the following parts: 
keep knees together, and lower the body until you almost sit on the 
heels; arms akimbo, that is at the sides, with hands on the hips; 
rise on the even numbered counts; descend on the odd numbered 
counts; thirty-two movements. 

Figure 5. (In fifth set.) Commence as in Figure 2, with 
the variation of lifting the free foot laterally a few inches from the 
floor. It is very easy to do at first, but becomes very difficult as it 
is continued. The free foot is the one that sustains no weight at 
the time. 

Figure 6 . (In sixth set.) This is the hardest of all in the 
Iron Legs, the object of which is to give the limbs such strength 
as to render them capable of sustaining the weight of the body at 
all times and under all circumstances. The first part of the exer¬ 
cise consists in spreading the feet apart laterally on one count of 
the music, a few inches to begin with. At the second count the 
feet must be brought together so as to strike the heels, but the 
soles of the shoes must not leave the floor. 


14 


RALSTON CULTURE 



R alsTor) Physical Culfure. 










































































































TEE RALSTON MOVEMENT CURE 


15 


Figure 7. (In first set.) This is the second exercise in the 
first set, and the first exercise in the second series. This series 
includes all on the opposite page preceding. It is necessary to 
make the muscles of the feet strong enough to sustain the weight 
of the body. The weight is placed on one foot, and this alone 
invites double strength. On the count one , the other foot is raised 
as high as possible in a perfectly straight line; on the count two , 
it is brought to the floor without allowing even an ounce of weight 
to rest on this foot. Eepeat thirty-two times; rest on the other 
foot and again repeat. 

Figuke 8. (In second set.) This is apparently an easy exer¬ 
cise; hut its repetition produces that pleasant taxing of the muscles 
which gives great strength without strain. The whole weight of 
the body must he lifted gently but quickly until it is sustained 
from the tips of the toes; this is on count one; then on count two 
it is lowered again until the heels rest lightly on the floor. 

Figure 9. (In third set.) This is a peculiar exercise. It is 
something like Figure 7, hut the effect is quite different. It re¬ 
quires special music to enable the muscles to respond properly to 
the impulse of the action. On count one the right foot is raised, 
and its upward momentum is to aid in lifting the weight of the 
whole body so as to he sustained on the toes of the left foot. On 
count two the raised foot comes to the floor; and so continue. 

Figure 10. (In fourth set.) Stand; raise the leg in front of 
the body until it is at right angles; describe a circle with the foot 
and limb without bending the knee or ankle. On sixteen counts 
the foot should circle to the right; and on sixteen more to the left. 
Then change the support, and exercise the other leg in the same 
way. 

Figure 11. (In fifth set.) This is very hard to do right, 
although it is a simple exercise. Stand as before; keep the body 
straight; describe a large circle with the free foot, sixteen times to 
the right and sixteen to the left; then reverse the position and do 
the same with the other foot. Rest only the toe of the moving 
foot on the floor. 

Figure 12. (In sixth set.) This is like the movement in Fig¬ 
ure 11, except that, instead of a circle, the foot describes a straight 
line forward, then sweeps in a large outward semicircle around to 
the back and comes up in a straight line; thirty-two times with each 
foot. 


16 


RALSTON CULTURE 



Ralsfor) Physical Culture- 




































































































TEE RALSTON MOVEMENT CURE 


17 


Figure 13. (In first set.) In this, the third series, are pre¬ 
sented special exercises for strengthening the muscles about the 
ankles, and those that lead to them. Each movement is to be 
commenced in the regular position. Change on count one, by cross¬ 
ing one leg in front of the other, the toes meeting so as to make a 
letter V reversed, thus A, with the feet. On count two, bring the 
retired foot to the front by recrossing and making another A, toes 
touching. If you do it right, you will not move out of your 
position. 

Figure 14. (In second set.) This is a rocking movement, 
and, like all in the ankle series, is very interesting. Stand in the 
position of Figure 13. On count one rise as high as possible on 
the toes, by raising the heels; on count two come down on the 
heels, raising the toes as high as possible. If you are not able to 
keep your balance, some muscles are weak. 

Figure 15. (In third set.) This is the parallel exercise of the 
feet. Stand in the first position; feet side by side, parallel, hut 
several inches apart; move the heels to the right while resting the 
weight on the toes of both feet, still keeping them parallel; then 
support the weight on both heels and move the toes to the right; 
count sixteen times, then move back to the left on sixteen counts. 

Figure 16. (In fourth set.) This is a beautiful and very 
interesting exercise, as well as one that is beneficial in the highest 
degree. It is rather hard to explain, and reference must be had to 
a later page where the music appears with it in larger form. It 
starts with one foot behind the other, the legs being crossed at the 
ankles. The blow of the step against the advanced foot sends the 
latter on a few inches; but the length of the movement may be 
made very great by practice. There is no jarring of the body, and 
no actual force in the blow, if properly performed. 

Figure 17. (In fifth set.) Stand in such a. position as will 
place the feet in a straight line, the heels touching and the toes 
turned out laterally. On count one place the weight on the toes, 
rise, and turn out the heels laterally. This will cause the feet to 
spread. Return to the position first indicated with heels together, 
on count two. Repeat for the thirty-two counts. 

Figure 18. (In sixth set.) This is like the movement in Fig¬ 
ure 17, except that it is too difficult to be performed without a 
great amount of practice. Stand -with the feet together in a 
V-shaped position; rise high on the toes, and swing the heels out 
to an extended lateral position. 


18 


RALSTON CULTURE 


Knee Exercise 



Rais for) Physical Culfur^. 











































































































































THE RALSTON MOVEMENT CURE 


19 


Figure 19. (In first set.) The present table introduces a 
series of specific movements designed to test as well as to develop 
and strengthen all the knee and related muscles. Stand; arms 
akimbo; take a long step forward, facing also forward; lower the 
body until the forward leg is bent exactly at right angles. Count 
one on this forward movement; two as you bring the body back in 
position; three as you again go forward; and so on for thirty-two 
counts; then reverse, and exercise the other knee. 

Figure 20. (In second set.) This appears to be somewhat 
like Figure 19; but it differs very materially, as practice will prove. 
Face to the front, and move sidewise. Take a large lateral step, 
that is to the side, and not at all toward the front, although the 
body must face to the front. Bend as stated in Figure 19, and 
count thirty-two movements with each leg. 

Figure 21. (In third set.) Step backward on the bent knee, 
in the manner of Figures 19 and 20. The picture on the opposite 
page shows but a slight bending of the knee; but if you are able 
to keep time with music, or counting, and lower the body very 
much, it will be a more heroic species of exercising. On count one 
take a long step backward, with the weight of the whole body 
on the bent knee; on two come forward to the standing position. 
Count thirty-two, exercising each leg. 

Figure 22. (In fourth set.) This is a back lateral movement, 
and is the opposite of that in Figure 20. Here the right leg is 
passed behind the left until the foot is on the left side of the latter, 
and the right knee is behind the left knee. The body is to be 
lowered as in Figure 20, and all this is done on one count. On 
count two the feet are brought into the regular standing position. 

Figure 23. (In fifth set.) Stand; arms akimbo; take a long 
stride forward; kneel slowly until knee almost touches the floor; 
it must, in fact, just come to the floor without putting weight on 
it; and the former knee must be at right angles. Rise on count 
two; then kneel and rise for thirty-tw'o times. Repeat thirty-two 
times more with the other limb. 

Figure 24. (In sixth set.) This is a peculiar exercise, and 
one that is very taxing, though entirely without strain. It consists 
in four counts. On the first the body kneels from a standing posi¬ 
tion, the knees not quite touching the floor; on the second count 
the knees rest on the floor; on the third they are raised a few 
inches; on the fourth the body stands erect. 



20 


RALSTON CULTURE 



R’alsfor) Physical Culfur^ 













































































































































TEE RALSTON MOVEMENT CURE 


21 


Figure 25. (In first set.) Part by part the exercises have 
risen along the muscular lines of the body; and, if they have been 
practiced in sets, the results are sure to be a constant relief and 
change of action, producing the most refreshing sensations, espe¬ 
cially if proper food and fresh air have been taken. Stand; arms 
akimbo; heels together; on count one prepare; bend the body at the 
hip joints, not at the waist, as far forward as possible on count 
two; straighten up on count three ; and repeat for thirty-two counts. 

Figure 26. (In second set.) On count one throw the hip only 
to the right, but at the same time turn the face to the left. This 
will produce a twisting of the muscles in a very slight degree, and 
will reach certain results that are obtainable by no other move¬ 
ment. On count two , reverse by throwing the hip to the left and 
face to the right. Repeat for thirty-two counts. 

Figure 27. (In third set.) This is a rotary movement, not at 
the waist, but at the hip joints. On count one, throw the hip to the 
left; on count two, throw the hip to the front; on count three, 
throw the hip to the right; on count four, throw the hip back. 
Repeat for thirty-two counts. During all these movements the 
head remains directly over the feet. 

Figure 28. (In fourth set.) If you lose jour balance, your 
muscles are weak. In the present exercise the movement must be 
made daintily. On count one, sway the hip to the right, swinging 
the left leg across the other to the right; on count two, sway the 
hip to the left, and swing the right leg across the other to the left. 
Repeat for thirty-two counts. 

Figure 29. (In fifth set.) This must be performed distinctly 
as a hip action. Stand in a straight position; bend at the hip joints 
by swinging the hip to the right, and balance this by throwing the 
head, shoulders and free limb all to the left in one action. Here 
are four things to be done at once on count one; then on count two 
a complete reverse is made, by changing the weight to the other 
foot, hip to the left, and head, shoulders and free foot to the right. 

Figure 30. (In sixth set.) To begin this exercise kneel on 
the knees; then on count one raise the right knee from the floor, 
and on count two drop it on the floor as in the beginning. The 
purpose is to strengthen the hip muscles by movements that are 
distinctively useful where no other action will be effective. Repeat 
the foregoing for eight counts; then move the left knee the same 
number of times; then repeat for thirty-two counts. 


22 


RALSTON CULTURE 


Waist Exercise 



R alsfoQ Physical C^lfore 












































































































































TEE RALSTON MOVEMENT CURE 


23 


Figure 31. (In first set.) No exercises are so healthful as 
those that put the waist muscles to a vigorous test. In the present 
movement, a straight line must be preserved from waist to feet; 
bend to the right on count one, and to the left on count two. Re¬ 
peat thirty-two times. 

Figure 32. (In second set.) The only way of understanding 
this exercise is to compare it with Figure 27. They seem alike 
when carelessly performed, but are opposites of each other. In 
Figure 32 the head does not remain over the feet. On count one 
throw the head and shoulders very far to the left; on count two, to 
the front; on count three, to the right; and on count four, to the 
rear. Repeat for thirty-two counts. 

Figure 33. (In third set.) This is a peculiar movement in¬ 
tended to affect the waist muscles in a way that can be accomplished 
by no other exercise. The upper body moves on count one to a 
right oblique backward position, and on count two to a left oblique 
forward position. The head remains over the feet. Repeat eight 
times, and reverse to the left backward and right forward positions. 

Figure 34. (In fourth set.) Extend both arms to lateral posi¬ 
tions on a height with the shoulders. Keeping them thus in posi¬ 
tion, swing them, like one great beam, to a front and back direc¬ 
tion, the face looking to the right; count one. Swing to the oppo¬ 
site side, face to the left, on count two. Repeat for thirty-two 
counts. This is a twisting or spiral movement, and only the waist 
muscles should be employed. 

Figure 35. (In fifth set.) Take same position as in Figure 
34. On count one bend at the waist to the left, and keep the arms 
in a straight line like one long beam. On count two raise the left 
end of this beam, lower the right and bend at the waist. Repeat 
for thirty-two counts. This is called the walking-beam exercise. 
It is one of a large number of the Ralston System of exercises that 
are very beautiful in class drill. 

Figure 36. (In sixth set.) This is the best as well as the 
most difficult of the waist movements. It is highly beneficial. 
Kneel; on count one place the two hands on the raised knee; on 
count two throw the body back as far as possible, carrying the arms 
backward at the same time. Repeat eight times; then reverse by 
raising the other knee, and so on for thirty-two counts. 


24 


RALSTON GOLTVRE 



Ral-Sforj 


Chest Exercise 




Physical Culture 






































































































































THE RALSTON MOVEMENT CURE 


25 


Figure 37. (In -first set.) The first exercise here given ap¬ 
plies to the lower chest, and is very slight in its action, but power¬ 
ful in its benefits. Place the palms of the hands at the sides, on 
the lower side-ribs. On count one, inhale and expand as much as 
possible at this place on either side. On count two , exhale and 
contract at the side-ribs. Kepeat for thirty-two counts. 

Figure 38. (In second set.) Stand; left arm at side; raise 
right arm into an outward position on a line with the shoulder. On 
count one , move the arm, with fist strongly clinched, across the 
front of the chest, without bending the elbow. On count two, 
move outward to a horizontal position; and so on for thirty-two 
counts. 

Figure 39. (In third set.) This is called the Wing Move¬ 
ment. Place both hands upon the chest near the shoulders, with 
the elbows at the sides, hard against the body. On count one raise 
the elbows, without moving the position of the hands. On count 
two strike the sides of the chest with the elbows. Continue for 
thirty-two counts. 

Figure 40. (In fourth set.) All the exercises of this series, 
and the majority of all the others, are new and peculiarly adapted 
to the Ealston System. The present movement is called the per¬ 
pendicular drill. It must be correctly performed or it will be use¬ 
less. Place left hand at the .side, hanging down at full length. 
Clinch the fist of the other hand; on count one, bring it up with 
great energy, directly under the armpit, so as to hit the under part 
of the arm. On count two, still clinching the fist very hard, bring 
it down with force enough to shake the whole body. You can 
easily shake the floor of a frame building, if you are strong. Six¬ 
teen counts with each arm. 

Figure 41. (In fifth set.) Place the palm of one hand on the 
chest; strike it with the palm of the other. Give thirty-two blows 
in all, one on each count, and move the under hand to various 
parts of the chest. 

Figure 42. (In sixth set.) This is one of the pleasantest and 
most exhilarating of all exercises; but to be properly enjoyed it is 
necessary that the movements be understood, the music be exactly 
suitable and the action coincide precisely with the music. It is 
not possible to describe it in this brief notice, and reference must 
be made to a later page, where the music also appears with it. 


26 


RALSTON CULTURE 




RalsfOQ Physical Culture. 












































































































THE RALSTON MOVEMENT CURE 


27 


Figure 43. (In first set.) The purpose of the present series 
of movements is to call into play the muscles in and about the 
shoulders. In Figure 43 one shoulder must he moved thirty-two 
times, and then the other must be likewise exercised. There is no 
advantage in the see-saw alternate movement. Stand; let both 
arms hang at the sides. Raise the right shoulder as high as possi¬ 
ble; almost to the ear. Lower it firmly, and repeat. 

Figure 44. (In second set.) Stand with the arms at the sides. 
Raise the right shoulder as high as possible, almost touching the 
ear; then bring the shoulder forward as far as you can without 
moving any other part of the body; now lower it very energetically, 
hut do not allow the opposite shoulder to rise; then move the 
shoulder as far hack as possible, thus completing the circuit. All 
this must he done on the count one. Count thirty-two with the 
right shoulder, and the same number with the left. 

Figure 45. (In third set.) This is the most taxing of all exer¬ 
cises, yet does not produce any strain whatever, nor lower the vital¬ 
ity of the body. Muscles will not grow stronger unless taxed. On 
count one raise the hands as in Figure 45, the arms being bent to 
right angles at the elbows. On count two lower the hands, still 
preserving the right-angle position. Repeat until tired. 

Figure 46. (In fourth set.) Clinch the fists and raise them at 
full arm's length above the head until they strike together. On 
count one , bring the fists swiftly down to the sides, each taking a 
large outward movement in the form of a semicircle. On count 
two , raise the arms by the same outward curves and bring the fists 
together with energy high over the head. Continue this for thirty- 
two counts. 

Figure 47. (In fifth set.) Commence in a standing position; 
rise on the toes of one foot; extend the hand forward and upward 
as high as possible, even to a very long stretch; the other hand 
swinging down and behind the body. While in this position take 
a very long, deep breath and clutch at an imaginary bunch of 
grapes by an extra effort to rise; all this on count one. On count 
two resume an ordinary standing position as in Figure 1 of Iron 
Legs. Repeat for sixteen counts with the right side of the body 
advanced; then sixteen with the left side. 

Figure 48. (In sixth set.) In this the body is supported with 
the weight on both feet; the right hand is raised and pushed for¬ 
ward, the left hand is lowered behind and pushed down; all this on 
count one. Count two is a regular position. Repeat for sixteen 
counts; then reverse for sixteen more. 


28 


RALSTON CULTURE 





Ralsfor) Physical Culture 









































































































































THE RALSTON MOVEMENT CURE 


29 


Figure 49. (In -first set.) By that process of change, varia¬ 
tion and relief that always gives muscular pleasure, we come now 
to the specific movements of the arm and its direct and supporting 
muscles. The chief fault with all systems of physical culture is 
that they consist of only two classes of movements, those of the 
arm and general body; and the laws of tension, relaxation and 
relief are then impossible. In the present figure, extend one arm 
to a lateral position; on count one rotate the fist, hut not in a 
circle; on count two rotate back again as far as possible. Repeat 
for thirty-two counts. 

Figure 50. (In second set.) Put both hands over the shoul¬ 
ders, each over the shoulder of its own arm; the palms of the hands 
touching the back at the shoulder blades. This is the starting 
position. On count one , lower the elbows; on count two , lower the 
wrists; on count three, extend the fully open hands in front; on 
count four , go back to position. Repeat for sixty-four counts. 
The exercise is not only new, but is the best arm drill ever yet 
invented, as its use will prove. 

Figure 51. (In third set.) This exercise taxes the muscles of 
the upper arm. Clinch the fists; raise arms on a height with the 
shoulders in a lateral extension; from this swing the stiff arms 
to the front of the body on the count one; then to the extended 
lateral position on count two; and continue lor thirty-two counts, 
never bending the elbows. 

Figure 52. (In fourth set.) This is a very invigorating exer¬ 
cise. Raise the arms high over the head in an outward swing and 
then bring the hands straight down past the shoulders to the sides, 
gradually clinching the fists as they descend. Count one on raising 
them, and two on the descent. Repeat for thirty-two counts. 

Figure 53. (In fifth set.) This is an interesting exercise, and 
one that is beneficial. To begin it place the hands out laterally as 
far from the shoulders as possible. On count one bring them down 
vigorously against the body. On count two raise them to position. 

Figure 54. (In sixth set.) This is a still more elaborate 
movement than that required in the last of the chest exercises. 
The two may well be studied together, both as to the details of 
execution and the effects produced upon the health of the body. 
Figure 42 opens out the chest frame and imparts great strength. 
Figure 54 is a spiral movement of the arms. See description that 
accompanies the music on later pages. 


80 


RALSTON CULTURE 



Rais for) Physical Cuffur^. 









































































































TEE RALSTON MOVEMENT CURE 


31 


Figure 55. (In first set.) The present series deals with the 
muscles of the hand, involving the general body more or less. It 
is well known that the hand-muscles are dependent upon the arm- 
muscles, and that the latter are related to the chest-muscles. In 
this exercise, stand; one hand at the side; extend the other to 
arm’s length; on count one, open the fingers as widely apart as 
possible; on count two , close them as tightly as possible. Repeat 
with the right hand for thirty-two counts; then the same with 
the left. 

Figure 56. (In second set.) Clasp the hands in front of the 
body by interlacing the fingers, the palms being together; the 
hands being as far to the front and away from the body as possi¬ 
ble. On count one, open the palms, using the fingers as hinges; on 
count two , bring the palms together. Repeat for thirty-two counts. 

Figure 57. (In third set.) Hook the fingers together. This 
is not like interlacing. Extend the hooked hands as far to the 
froiit as possible. On count one, bring the hooked hands in toward 
the chest, while pulling hard, as though trying to get them apart. 
This pulling must be by a lateral action of the elbows. On count 
two, extend them to the first position in front. Repeat for thirty- 
two counts. 

Figure 58. (In fourth set.) Bring the hands together so that 
the palms and fingers touch; extend them thus as far as possible. 
On count one, bring the wrists hard against the right shoulder; on 
count two, out in front; on count three, against the left shoulder; 
on count four, out in front; and so on for thirty-two counts. 

Figure 59. (In fifth set.) Commence this exercise by raising 
the left hand and lowering the right so as to form an oblique or 
leaning line with the two arms. On count one lower the raised 
hand and raise the lowered one, allowing the palms to strike as 
they pass. This will leave the right hand raised and the left hand 
down. On count two strike again and pass to the first position; 
and so continue for thirty-two counts. 

Figure 60. (In sixth set.) Start with the hands at the sides. 
On count one strike them in front; on count two strike them behind 
the body; and so continue for thirty-two counts. The exercise is 
very interesting with music that exactly suits it. 

See the full set of music on later pages of this volume, with 
supplementary explanations. Compare all these descriptions with 
them as you proceed. 


32 


RALSTON CULTURE 



Neck Exercise 



RalSfor) Physical Cvilfvir^. 


























































































TEE RALSTON MOVEMENT CURE 


33 


Figure 61. (In first set.) In each series we present the most 
valuable special movements applicable to the division of the body 
to which it applies; and we come now to the neck division. In 
the present figure, the movement is confined to the neck muscles 
alone. Let the arms hang at full length at the sides; drop the 
head forward until the chin rests upon the chest; count one. Now 
raise the head until the chin points toward the ceiling, or the back 
of the head almost touches the back; count two. Repeat for thirty- 
two counts. 

Figure 62. (In second set.) Take the usual standing position 
with the hands at the sides; incline the head to the left on count 
one, until the ear almost touches the left shoulder. On count two 
incline the head to the right until the ear almost touches the right 
shoulder. The face must be kept to the front while the head is 
being inclined right and left, so as not to involve a different mus- 
eular action of the neck. Repeat for sixty-four counts. 

Figure 63. (In third set.) On count one , incline the head to 
the right; on count two, incline the head backward until the chin 
points toward the ceiling; on count three, incline the head to the 
left; on count four, drop the chin upon the chest. The tcp of the 
head must be made to pass in the line of a perfect circle. Con¬ 
tinue for sixty-four counts. 

Figure 64. (In fourth set.) In the preceding exercises the 
face has turned neither right nor left. The present movement 
requires a very hard and full turn to the right on count one; to the 
left on count two; and so on for sixty-four counts. A slight turn¬ 
ing of the head will not suffice, for no advantage would accrue 
therefrom. In order to properly exercise the muscles, the head 
should turn without moving the shoulders so that you can see the 
floor at your heels. 

Figure 65. (In fifth set.) Take the usual standing position 
with the hands at the sides; incline the head at first as far back as 
possible, and hold it in this position of readiness. On count one, 
roll the head until the face turns squarely to the right; on count 
two, roll the head in the opposite direction, facing to the left; and 
continue this for thirty-two counts. 

Figure 66. (In sixth set.) On count one, reach forward with 
the chin, and give the muscles of the neck a good stretching, at 
the same time throwing the shoulders back. On count two, throw 
the shoulders forward and bring the chin in. Continue this for 
sixty-four counts. 





34 


RALSTON CULTURE 



F. 





Ralsfor) Physical Culture. 

















































































THE RALSTON MOVEMENT CURE 


35 


Figure 67. (In -first set.) Raise the right arm and throw it 
so far over the head that the fingers touch the left ear; and while 
doing this lower the body by reaching with the left hand down¬ 
ward toward the floor. The foregoing combination constitutes 
count one. For count two, raise the left arm over the head and 
reach down with the right arm. Thirty-two counts. 

Figure 68. (In second set.) Put the hands in the hand¬ 
shaking clasp; that is, palms together, hands at right angles. Raise 
the hands high over the right shoulder, fingers downward, on count 
one; weight on the left limb retired. On count two, advance the 
left foot by a large stride, and bring the clasped hands down to the 
left side. On three, raise over the left shoulder; on four, down to 
the right; and so on for thirty-two counts. 

Figure 69. (In third set.) On the first count raise the hands, 
palms touching, as high in front as possible. On count two lower 
the hands between the feet so as to pick up a handkerchief from 
the floor if necessary. On count three carry the hands by a large 
forward curve to the high position; and so continue for thirty-two 
counts. 

Figure 70. (In fourth set.) This begins with a standing posi¬ 
tion. On count one kneel on the right knee; on count two rest 
part of the weight on the right hand flat on the floor; on count 
three sit; on count four cross the knees and clasp the hands over 
one knee; on count five rest on the hand; on count six put weight 
on right knee; on count seven put weight on left foot; on count 
eight stand erect. Repeat. 

Figure 71. (In fifth set.) On count one kneel laterally upon 
the right knee; on count two support the entire weight of the upper 
part of the body upon the right hand resting upon the floor, the 
left raised; on count three rise to the kneeling position; on count 
four rise to the feet; on count five down on the left knee; on count 
six support on the left hand; on count seven rise to the kneeling 
position; on count eight rise to the feet. 

Figure 72. (In sixth set.) Turkish salute. Cross the legs at 
the knees, let the body rest upon the toes; extend the hands to the 
right and left with the palms down. On count one lower the body 
slightly by bending at the neck, waist, hip and knees all at the same 
time; on count two lower the body still more; on count three lower 
it further; on count four bring it to its lowest possible position; 
bring it back to the standing position by four counts. 



36 


RALSTON CULTURE 



RalsfoQ Physical C\j|tun=. 
















































































THE RALSTON MOVEMENT CURE 


37 


Figure 73. . (In first set.) Clinch the fists as tightly as possi¬ 
ble; hold the left arm perfectly still and rotate the fist around it 
with the utmost speed; then reverse the process by holding the 
right arm still and rotating the left fist around it. Endeavor to 
make the speed as great as possible. Flow rotate both fists around 
each other; then reverse the direction, in order to give the same 
muscles a different action. 

Figure 74. (In second set.) Have the palms touch each other 
in front of the body; on count one separate the hands about a 
foot; on count two separate another foot; on count three, another; 
on count four , another; on count five, another; on count six, 
another; on count seven, another; on count eight bring the hands 
forward with a large, long, full sweep and with lightning rapidity 
striking the palms heartily against each other in front. Repeat 
for thirty-two counts. 

Figure 75. (In third set.) On count one throw both arms 
around the front of the body, allowing them to cross at the lower 
front chest; on count two extend them and bring them to the front 
again all in one swift action. This is something like the move¬ 
ments of a Hew England farmer who attempts to warm himself on 
a cool day. 

Figure 76. (In fourth set.) Hold the right arm out obliquely 
front on a height with the shoulder; that is, half way between a 
front and a lateral position. With the index finger of the hand 
describe a circle as rapidly as possible; then reverse. Change to the 
left hand, giving the right a rest. The music permits great speed 
in this exercise. 

Figure 77. (In fifth set.) Stand. Raise the arms so that 
the clinched fists will come in front of the body on a height with 
the lower chest. Imagine that you are in a crowd playfully elbow¬ 
ing your way through. On count one hit backward with the right 
elbow; on count two with the left; and so on for thirty-two counts. 

Figure 78. (In sixth set.) Raise the hands in front of the 
head as though to take a leap forward. On count one bring the 
hands down and slightly behind the legs, as though the jump had 
been taken; on count two bring the hands up in preparation for 
another preparatory leap. Repeat until tired. 

Speed is not a valuable exercise of the highest order unless it is 
carried to the full rapidity required; even five seconds of such 
quickness of movement being more efficacious than ten minutes 
of slower action. 


38 


RALSTON CULTURE 



Ralsfor) Physical Culture 























































































































THE RALSTON MOVEMENT CURE 


39 


Figure 79. (In first set.) Repeat the words one, two, three; 
one, two, three; one, two, three, etc. The one should be specially 
emphasized. After repeating aloud several times and being in a 
standing attitude on the ball of the left foot with the arms akimbo, 
jump about ten inches in the air, at the same time throwing the 
right foot forward. The jump on the left foot and the forward 
action of the right foot both occur simultaneously on the count 
one; and the remaining numbers serve as the preparation for the 
next jump, which will be given with the right foot while the left 
is thrown forward. Repeat for thirty-two jumps. 

Figure 80. (In second set.) Give a very light, high jump on 
the left foot, and throw the other foot out as far as possible to the 
right. This combination occurs on number one in the count of one , 
two, three. The second jump is given on the right foot, with the 
other thrown out as far as possible to the left side. Thirty-two 
jumps. 

Figure 81. (In third set.) Raise the hands to the sides, and 
run as hard and fast as you can, without moving forward. The 
action may be given with any degree of speed. Raise the heels 
high in the act of running. 

Figure 82. (In fourth set.) Take a step to the right lateral 
by moving the right foot to one side, and follow this movement by 
a sliding action of the left foot toward the right. The weight re¬ 
mains on the latter during the measure or its chief accent. On the 
second measure move to the left side; and so on. 

Figure 83. (In fifth set.) This is an imitation in part of the 
typical sailor’s step as seen on the stage, though never in real life. 
It is a very beautiful movement when rightly done. A full expla¬ 
nation will be found on a subsequent page, with music, to which 
your attention is called. See Figure 185. 

Figure 84. (In sixth set.) Support the body on the right 
foot; on the counts one, two, give two jumps on the right foot, 
throwing the upper part of the body far forward and the left leg 
as far back as possible. On the counts three, four, give two jumps, 
with the right foot thrown as far forward as possible and the upper 
part of the body back. Repeat for thirty-two counts. 

Be careful not to continue the light step too long, as it ex¬ 
hausts vitality unawares, owing to its fascination and the interest 
it arouses. 


40 


RALSTON CULTURE 



Ralsfor) Physical Culture 



























































































THE RALSTON MOVEMENT CURE 


41 


Figure 85. (In first set.) This series presents a new practice 
in the art of distributing the nutrition through the body by the 
only known natural method, exercise. It was only a few years ago 
that relaxation was thought of; and the earliest method even at 
this late date was rest. But, after a hard effort, the muscles harden 
and become very sore if they suddenly rest. A change of exercise 
is one method of relaxation, hut careless movements are more 
effective if made scientifically. Place the elbows at the sides; hold 
the lower arms firm; shake the fingers as if they were so many limp 
strings. 

Figure 86. (In second set.) Stand in perfect poise on one 
foot; place the arms akimbo; lift the other foot and shake it with¬ 
out muscular energy in the foot. These are called devitalizing 
exercises, and are intended to take all the stiffness and soreness 
out of the muscles. They are the opposites of energizing move¬ 
ments. 

Figure 87. (In third set.) Of recent years the value of relax¬ 
ing the muscles by using them, hut in the opposite of energy, has 
come to be fully recognized in all parts of this country. There are 
really three ways in which a muscle may be moved; one, with 
energy, for health, by the distribution of nutrition; two, normally, 
that is without energy; three, by devitalizing, for relaxation. Yet 
all three are actual movements. In the present exercise, hold the 
arms at the sides, lift the forearms, and let them fall of their own 
weight. Repeat thirty-two times. 

Figure 88. (In fourth set.) Raise the arm to its full height; 
relax its muscles, and let it fall of its own weight. In order to test 
the difference between energy, lassitude and devitalization, make 
three trials: first, bring the arm down with great force; second, 
bring it down languidly; third, let it fall of its own weight. 

Figure 89. (In fifth set.) Stand with the heels together. 
Twist the body at the ankles and waist, at the same time allowing 
the muscles to so relax that the arms will be as limp as ropes and 
swing about aimlessly. 

Figure 90. (In sixth set.) This is a very interesting exercise 
if done properly, especially to music. When a person is sleepy 
the head falls, because the muscles at the neck relax; when dizzy, 
the chest collapses; when exhausted, the waist muscles give way; 
when faint, the knees sink. Count one is used for the neck’s relax¬ 
ation; count two for the chest fall; count three for the waist; count 
four for the knees. Come back by four counts, and repeat. 


42 


RALSTON CULTURE 





Ralsfor) Physical Cvilfur^ 






















































THE RALSTON MOVEMENT CURE 


43 


Figure 91. (In -first set.) This is the action of climbing a 
ladder. The picture shows an imaginary one in dotted lines. Yon 
remain standing on the floor, but lift one foot after the other and 
one hand after the other so as to complete the illusion. Now add a 
strong muscular effort of foot and hand, as though your weight 
were entirely supported in this way. Count thirty-two. 

Figure 92. (In second set.) The bell-ringer is herein repro¬ 
duced. At first the body should take an ordinary standing posi¬ 
tion; then both hands should grasp an imaginary rope as the right 
foot takes a step right oblique forward. This is count one. On 
count two pull down with both hands on the supposed rope, letting 
the hands pass down to the left side near to the floor. The weight 
is forward for the preparation, but shifts to the left foot on the 
count. 

Figure 93. (In third set.) In this action the anvil is to be 
imagined. The exercise should employ the right arm first, and then 
change to the left. The knee is the anvil, and the left fist upon 
the left knee is to receive the blow of the right fist for four counts, 
one for each blow; then the sides are reversed. The preparation 
is a slight step backward; the blow is accompanied by a long step 
forward. 

Figure 94. (In fourth set.) This is the farmer mowing. 
Imagine that you have a large and heavy scythe handle in the 
hands, and swing the scythe to the right side slightly backward 
on count one , reaching out as far as possible. On count two mow 
down a great area of imaginary grass, swinging far to the left; on 
count three to the right again; and so on for thirty-two counts. 

Figure 95. (In fifth set.) This is the profession of the pick¬ 
axe. One of the most graceful exhibitions of strength is seen in 
the uplifted attitude of the arms, ready to swing the pick. A critic 
of grace once declared the toiler in the mines to be the acme of 
graceful strength. With an imaginary pick it is most difficult to 
do. The counts are one for the uplifting of the arms, and two for 
the stroke; total to be thirty-two. 

Figure 96. (In sixth set.) This is the profession of the 
shovel. The earth and shovel are to be imaginary, but the effort 
must be the height of the realistic. On the count one , stoop and 
take up a large quantity of heavy earth; on the count two , rise 
and throw it at least five feet away; stoop again on the count three; 
and so continue for thirty-two counts. It is well, in this as in all 
the exercises wherever possible, to exchange positions when the 
counts are half through, so as to use the other half of the body. 


44 


RALSTON CULTURE 


Imitation Exercise. 



Ralsfor} Physical 



Fig.102. ^ 
Culture 













































































TEE RALSTON MOVEMENT CURE 


45 


Figure 97. (In first set.) This is an imitation of childhood, 
reproducing the hop and skip. No description can portray the 
movement; hut it is safe to say that any person who ever indulged 
in this delight when young, will readily take the step as soon as the 
music is heard. The action is an onward one. Play is the secret 
of youth. 

Figure 98. (In second set.) Here the fencer is imitated. He 
is supposed to hold a foil in his right hand and to uplift the left 
in the usual attitude of the duel. All this occurs on count one. 
On count two the imitation changes to that of the soldier in battle 
taking aim with his gun, which is supposed to he held at the left 
shoulder. 

Figure 99. (In third set.) The remaining ten figures em¬ 
brace merely drill exercises, designed to introduce the spirit of play 
into our work, with corresponding benefits. With the inspiration 
of good music, or of ensemble counting aloud, they are very enjoy¬ 
able. The first of this series is an imitation of pushing. The wall 
in the picture is purely imaginary. On count one, endeavor with 
all your strength to push something from you; on count two , relax. 
Continue for thirty-two counts. 

Figure 100. (In fourth set.) This is an imitation of stretch¬ 
ing. On count one , lean forward and grasp an imaginary rubber or 
elastic band; on count two , transfer the weight from the advanced 
position to a retired one and at the same time open the arms with 
all the pretended vigor possible, as though actually stretching a 
rubber band of considerable strength. The imitation must be 
natural and vigorous. 

Figure 101. (In fifth set.) This is an imitation of striking a 
blow. Make yourself believe that you are striking a very vigorous 
blow, and advance the body to do it. It is proper to advance either 
the right or left foot on the blow of either hand. Count one for 
preparation; two for the blow; and so on, making thirty-two counts, 
of which sixteen will be with each hand. 

Figure 102. (In sixth set.) This is an imitation of pulling. 
It is the opposite of Figure 99, and quite different from Figure 100, 
the latter being a lateral action of stretching. Stand; brace the 
legs hard; pull as energetically as possible without moving from 
your position. On the pull count one; relax for count two; and 
continue for thirty-two counts. 


TO TEACHERS. 


As we have fully stated in works that lead up to this, 
the successful teacher of physical culture, or of any other branch 
of education requiring the direction of important classes, must 
possess four leading qualifications: 

1. Executive ability. That is already denoted by the fact 
that you have reached the Tenth Star Degree. 

2. A knowledge of the work involved in what you teach. 
This hook contains such knowledge as far as the system of Ealston 
Culture is concerned. 

3. Powers of address, including a good voice, perfect 
enunciation, pleasant modulation and skilful speech, all of which 
inspire courage and control of self and others. All this may be 
acquired by a six months 5 course of training in Ealston University 
of Expression, of Washington, D. C., the leading institution of its 
kind in existence. Catalogue may he had on application. Besides 
the education obtained in expression, the University License to 
teach the Ealston System of Physical Culture is obtainable in no 
other way than by a six months 5 course of training there. 

4. Magnetism is of the greatest importance in securing 
success. There are two courses of training in this art; one is found 
in the Exercise Book of Personal Magnetism, new seventh edition, 
now in press; the other is the vastly comprehensive course of pri¬ 
vate lessons showing the various ways of using the power, entitled 
“Universal Magnetism. 55 The first hook is a very low priced work, 
and contains the complete system of the cultivation of personal 
magnetism. The latter hook is high priced and is devoted to pri¬ 
vate training in the use of the power. It is not by any means 
necessary, hut is a very valuable aid to those who can afford to take 
private instruction. Both these courses may be obtained free in the 
degree system of the Ealston Natural College, which is a home 
course of special training. To enter such College it is necessary 
to use the “Cold Form 55 at the end of this volume. Kindly read 
the final chapter of this hook, where every matter is fully explained 
relating to all the particulars mentioned on this page. If you are 
limited in means you could easily take all the courses except that 
in Ealston University at Washington; and more than one pupil 
has earned that by teaching Ealston Physical Culture. 

( 46 ) 



SECOND DEPARTMENT. 


Numerical Order 

of 

MUSIC AND EXERCISES. 


In the preceding pages the various series, seventeen in all, 
have been presented in full page arrangement. This is necessary 
in order that the practicer may be able to see at a glance what are 
included in each group; and short descriptions accompany the 
whole series on the opposite page of each, so that a sufficient 
though brief knowledge may he at once obtainable of the purport 
of the movements and the way of performing them. In fact, this 
preceding arrangement has for many years constituted the only 
presentation we have made of Ralston Physical Culture. 

More explicit descriptions have been demanded; and, 
above all, the MUSIC has been so often requested that we have 
determined to publish it; but this has not been done until every 
air has been tested, tried repeatedly and found to coincide exactly 
with the minutest details of the exercises. This of itself has en¬ 
tailed a vast amount of labor and experimenting upon a body of 
teachers and musicians, and has been no easy task in any part of 
the work. We here present the numerical order because it is needed 
for reference. At one time there were spurious publications of 
our music which were sold as high as fifty dollars and one hundred 
dollars per copy, full of defects even at that; and the arrangement 
was made in the teaching order, running in SETS; hut this pre¬ 
vented special reviews and the use of the gems of the system, as it 
was almost impossible to use the music when so arranged. 

Later on in the book the teaching order will be added 
accompanied by the same music again, hut arranged so that each 
exercise and its own music are together side by side. Any other 
plan would be fatal to the success of a teacher. The drag and 
waiting to find a page, the constant search or even the turning of 
leaves a hundred times during a lesson, would not be tolerated by a 
class. The teacher and musician must be prompt at every stage, 
so that the class need not be annoyed by delay. 

■ ( 47 ) 




48 


RALSTON CULTURE 



Fig. 103 . Iron Legs. 


Figure 1 Enlarged.— Explanation: The purpose of these ex¬ 
tended descriptions of the exercises is to make clear to the student 
of this course the finest details of action connected with the move¬ 
ments. It was proper that a whole series should appear together 
on a single page, so that the eye might discern and compare the 
different phases of the system as far as it applies to each part of 
the body. Here a whole page is devoted to a single exercise which 
is seen in enlarged form, and is followed by a clearer explanation 
than can be crowded into a small space. The music is then placed 
directly opposite for the greatest convenience to teacher and musi¬ 
cian. The Iron Legs series begins with a very gentle exercise. The 
best way of performing it is to give a swinging motion to the body, 
dipping back a little as the knees bend forward, and pitching the 
head slightly forward as the knees are straightened. The pleasure 
is very great if there is no jerk or jar in the action. 









Figure 1. 


IKON LEGS. FIRST SET. 



:F=Pe£zf===: 

F p. F . . . | F m.?. 9. 


F FZ? F 

tr 

=i-a t=ft 

Ped. 

^=SLP I^BStst 

* Ped 

* J—* # 

-F--F- -F- # 
"hr "fear" i»- 

:^K= J=£= 

r Ped 

pmn- ■ 

- m 6 SIS 

- 9 - %— 

-ar—I- M" F 

, rrt 

v ^r*- 

fcjzzLJ 

, S H 


: £—t t=l= 

-F—1 F i- 

L ! - ! - ! -h- 

-f-t- 1-4— 








m-- 




_ f Ped. 















































































































































































































































50 


RALSTON CULTURE 



Figube 2 Enxakged.— Explanation: It is supposed that you 
have gone through all the seventeen exercises of the first set, and 
are now ready to take up those that are slightly harder in the 
second set. It is the purpose of this S 3 ^stem to wait till the muscles 
are getting more used to> the work and practice 1 before giving them 
a full test of endurance. There is no good reason why the body 
should be made stiff and sore uselessly. The first set passed from 
the gentlest of the leg exercises to those of the feet, then the ankles, 
and so on up the entire body; all being the easiest to do, yet each 
having a distinct value in reaching muscles and making them ready 
for greater tests. We now are at the beginning of the second set; 
having a very pleasant and important exercise claiming our atten¬ 
tion. It is best done by acquiring that smoothness of action that 
admits of no jar. With the feet apart, say three-quarters of a yard, 
sway to the right and to the left, bending the knee to admit the 
slight lowering of the body in each direction, and save yourself 
from a sudden stopping by giving a spring of the least force, so as 
to catch the weight and reverse the direction. Herein the beauty 
of the movement is attained, and the pleasure is increased. 




IRON LEGS. 


Figure 2 


SECOND SET. 


































































































































































































































52 


RALSTON CULTURE 



Figure 3 Enlarged. — Explanation: This is another very in¬ 
teresting exercise, if it is properly performed. It differs from Fig¬ 
ure 1 in that it has a slide or lateral action, while the first figure 
has a forward and back movement. Stand with the feet touching; 
the military attitude is the best. The feet; are to he placed together 
and the heels are to touch, while the toes are turned out as much 
as possible. From this position to begin with almost any change 
may be easily made. On count one of the music, which means the 
first accented note, the legs should be spread apart at the knees 
only, but not at the feet. On count two, which means the second 
accented note of the music, the knees are to be brought together 
so as to touch. On count three the knees are to he spread apart 
laterally as in count one, and so on till the teacher thinks the action 
has continued long enough. Thirty-two is a very good number of 
counts, for it suits the music almost invariably and gives the counts 
right for all uses. A variation is found in the blending of the 
action of Figure 1 with this as follows: On count one, bend the 
knees forward; on count two, bend them hack; on count three, open 
the knees laterally; on count four, shut them together again. 















IRON LEGS. 

IES 


fi 


:p=r-pr^zpe: 


T~ 


ZfrwJEz 


Figure 3. 


THIRD SET. 


—t- 








fry M 

ei- 


* J S by >:'CT~E~ig 


: r 


4--P 


BflJ 


H=W-~ 


~r—*—.pc—pc 


=PL^Z^—PC 


=£=£*- 


4pc 


g 






i 




HI 


^-1-1— 





=#*= 


-P-—pc—pc—:pc 


-W—-+ - » -F- 


=t=t= 





§5=E 


P=F=P E = =pt— f—*:—F 


4-h- 


fees 


II 










































































































































































































































54 


RALSTON CULTURE 



Figube 4 Enlabged. — Explanation: This exercise commences 
the fourth set, and each of the movements in this set will be found 
harder than any that have been given in the use of the particular 
part of the body involved. We are trying to strengthen the legs 
first, for they are to be used in supporting the whole body, and 
upon them the greatest demand is always made. The above exer¬ 
cise is capable of any variation in degree of energy required that 
the performer chooses to put into the effort. For instance, if you 
lower the body an inch at the first trial, you will scarcely perceive 
any tax on the powers of the legs. But if you lower it three inches 
there is a decided difference in its effect, not only upon the limbs, 
but on the whole body. We advise that it be first done with the 
least possible dip on the body; then let the pupil decide how far 
to go in the descent after the danger of lameness has passed, which 
is about the fourth time of continuous practice in as many different 
days. But a reckless plunging into action always results in un¬ 
necessary pain through lameness and stiffness. Some are ambitious 
to get ahead, and really lose time by not going slowly at first. The 
teacher must continually admonish the pupil against this thought¬ 
lessness. Any quick or unusual motion of a muscle that strains 
it will produce soreness that will not heal for a week or more. 











IRON LEGS. 


Figure 4 


FOURTH SET. 






—Q—ry - 1 

i , i 

rr— J . 

-—j 

■ - 

- H- +3^1 





fiff H -*» O 

zw r i 1 

zfv ~i- 'S 


22 * 

~Zzr* 

r z 

i 


** J® 


<52 • 

L L L 

L L 1 J 

TT - 

r- | 

scherzando. 

«-*- J F-r §: 

(WHr—i —'«►—* 

ZEft^U 


n 

s sr 

: Z • Z i ] 


1 8^ 

j 


z z z 

i 1 

w r~ 

rtj 1 I 

ta tz tzz 




1 1 J 

^ ztz lz 

F® Jz_LZZZ 

!L 1 

i 


L - J 



rr^-f- - *—*r 

—j -T-—1 

iff -•** | 

—n—i—s 

“ , ^i 

~ , a 

/ /f 

k h- i rr z 


i if i 1 

j j p 


! 11 

v? \— -h &—& 

3 a 

z ^z r 


j H 1 

j— ■■ S-J 

l ^ 

j 


tz_y zJ 

n J • 

a a 


1 ^ 

Z v^ 

_l. S' Z- -£- -®- „ 

U*' 

i j®. © 

-% :g: :g: ; 

s l I 

/Oh. _1 1 1 

7^r. w p=^- i i 

■ S?$- 

, 19 02. 


&& *m an 

u.t'ri....* \ 

fra \r — ! ! 


1 liSF m* 

LJ Cub. ® 

r » *5 J? 

. i 

\ t~ 

tap* t 

-1 |- (- 

La CL 

J 1 J J 

-^—— 

4^ . ° 

\ ™ tz — 

n " . 

\--G j— | 

L. t- U 

Lt== ® ^ 



















































































































































































































56 


RALSTON CULTURE 



Fig. 107 . Iron Legs. 

Figuke 5 Enlarged. — Explanation: Here the fifth set begins, 
and the work is getting much harder. The exercise above pictured’ 
is a \ ery simple one to look at, but it is hard to long perform. The 
first few movements are quite easy, and if the practice were to stop 
with a half dozen of them, there would be no knowledge of what 
the exercise is intended for. On count one the weight is to be 
placed on the right foot moved out to a lateral direction as in 
Figure 2. The main difference is in the fact that the left foot is 
to be raised from the floor at the same time, while in Figure 2 it 
remained on the floor and helped to sustain the body. On count 
two in the present movement the weight is to be passed over to the 
left side and on the left foot, the knees of that limb being bent, 
and the right leg being raised from the floor. A very good way 
of learning the exercises is to begin with Figure 2, and change very 
easily from that to this by lifting the free foot from the floor each 
time. It must be purely a lateral movement, and not at all a front 
or oblique one. The tax on the muscles may be greatly increased 
by raising the free foot higher each time. 





















Figure 5 


IRON LEGS. FIFTH SET. 


One two one two one two 








-IS- 




i—“ 


N- 


?E=P—P= 


E= 

-g-—»—«►— 

±=t=-l=- 


—jg - y" pg = 

=r--r=r=t^ 


■H-h 


."^jgzfkEZ-_ l ^r^gi_ raF ^g:^' 


1—1- 





=t 


H- 


IB 




































































































































































































































58 


RALSTON CULTURE 


"\ 



Fig. 108 . Iron Legs. 


Figure 6 Enlarged. — Explanation: Here we commence the 
sixth and last set, Naturally you will expect the hardest of all the 
exercises in Iron Legs to he found at this place; and we will take 
the liberty of asking you if your expectation is not realized. Yet 
no strain occurs at any part of the system. It is necessary to pro¬ 
duce weariness, for there can be no improvement in health and no 
acquiring of strength without weariness. One of the best means of 
getting immediate improvement is to go so far as to completely 
exhaust the strength each day, but not to strain any part of the 
body, and then take a full hour’s rest, during which the strength 
will come back in greater amount. This cannot be done where a 
person is subject to heart disease. The above exercise requires an 
unusual degree of power in the legs; so much, in fact, that most 
persons say at first that it cannot be done. A rough floor will pre¬ 
vent one’s doing it easily even when strong enough. On count one 
spread the feet apart by a jump, and on count two draw them to¬ 
gether by sliding them over the carpet or floor. If the movement 
is too hard, place most of the weight on one leg. 























Figure 6 


IRON LEGS. 

One 


two 


one 


SIXTH SET. 

two 




n-=h- 

—| 

—1 n 

""1 

—i z 


yi—h. 




id j 


VL 

f (\ 

£2 • 

rj J 

J ^ ^ 



\v| / c — / 

.. 


-VP 

CZi'^ 

cJ 

^ : 

-&~ 

mr ® ^ ^ ^ ^ _____ ... 0 a « 

/WS« hi 



Z ss^ m 



-J m im - - 

|“7*, 7 ** 


!~ r— 

Z «W~»asr 


j 1®^ (S^ 1 

Z St St 

h= 


i- 

- M -1-(- 

=i r r 

£- £- 

-* fi—fniz 


L_i- 

-1-1- 

i- *- 

c 1—i- 

L h h 























































































































































































































60 


RALSTON CULTURE 



Fig. 109 . Foot Exercise. 

Figure 7 Enlarged. — Explanation: Here we come to the 
second exercise of the first set. The first exercise is found in Figure 
1, and related to the legs. This relates to the feet. The object is 
to pass from one to the other part of the body, so as to give each 
set of muscles attention, and then to relieve it by going to another 
set, until the whole body has been thus dealt with. While one is 
resting the other is being made tired, but the whole body is not 
affected at the same time, until we come to movements designed 
to test the united strength of all the sets of muscles in one action. 

he relief of the legs is at once secured by using only a part 
of their muscles, even when standing on them after they have been 
taxed. This seems strange until it has been tried. The above 
movement consists in raising and lowering one foot while the body 
stands on the other. There is really no tax on the leg muscles out 
of the ordinary use for standing, but there is severe tax on the foot 
^ at sustains the whole weight while any movement is going on. 
The good of the action is not imparted to the foot that is made to 
move, but upon the other that must steady the whole weight under 
the excitement of the action. 



FOOT EXERCISE. 

One 


Figure 7 


FIRST SET. 


two 


one 


two 




/ 

2-t—-- -1-j— 

- —[-—j— 

r -1—1 

—A -4- 

* T| ~ 

r / 



£2 • <p — * 

A —3 * -#1 


fr 

\ ^ ! 4a m 


-1 -j 

-i —1 

C^L • ..^j -j -- 

v: 

T h W & 

. LL 1 J 


J L J 

MM- 

r 

-IS- • • -S • ~ -<&- • * -*j- -j^r- «*- 

1 r 1 1 .f 1 

ZTT. ^ . 

* 

- £2 • 

_ 

_ 

I'—j 

*F^ 

_ 

-—,.J 

■J- — 





fV* * 

\ i 

"~r 

1 

_ 

_ 




















































































































































































































































62 


RALSTON CULTURE 



Figure 8 Enlarged. — Explanation: This is the second of the 
exercises in the second set. It is very simple to understand and to 
perform, but it is specially tiring and effective in developing un¬ 
usual strength of the feet. It has been stated that the muscles of 
the feet have to do the work of supporting the w T hole body. This 
is not fully true. The feet may be quite weak in muscular power 
and yet sustain the body, while the legs may have much more to 
do, and may get tired much sooner. It is well known that we feel 
weary in the muscles of the legs before we do in the feet. The 
latter need their strength when active rather than when standing 
still. The legs are wearied more by having to stand still than by 
walking or running, after once one is used to either exercise. When 
these parts are made extra strong it is always a delight to walk, to 
run or even to stand still. The poet Longfellow found his mind 
more active and wholesome when he was on his feet and he stood 
by his desk for hours writing. The above movement may be made 
light or heavy by the degree of rise given to the body. 




























FOOT EXERCISE. 


Figure 8 


SECOND SET. 






































































































































































































































64 


RALSTON CULTURE 



Fig. 111. Foot Exercise. 


Figure 9 Enlarged.— Explanation: The inquiry has often 
been made by pupils why the use of one foot or leg in exercise will 
impart more strength than the use of two. The answer should be 
foreseen by every person who has thought about it. When a body 
that weighs a hundred pounds is supported on both feet, each foot 
has but fifty pounds to sustain. When such a body is supported 
on one foot only, that foot has one hundred pounds to sustain, and 
the more tax we place on the muscles the more they will grow in 
strength if they are given a chance to recuperate by rest. For this 
reason frequent rests are necessary in scientific physical training. In 
the above exercise the whole weight of the body is not only placed 
on one foot, but it is made to- rest on the forward support. This is 
done so easily that it will hardly be noticed, if the musical action is 
followed. On count one raise the free foot first and let its upward 
action or acquired momentum pull the weight off the heel of the 
strong foot, and thus raise the whole body by the toes of one foot. 
In doing this the degree of elevation will determine the amount of 
tax to be placed on the latter. 


Figure 9. 

FOOT EXERCISE. ' . THIRD SET. 

One two one two 


. _J 

tut ,_ _ _i j -r- ^ « _ i 



—_J 

— j 


—r~-r- 

- W 1 JJ— 

i 

L_ -q 

£^j • 

JZ£ • 


-1-1-- 

- b - M 


X. * a. 



i t* - 

- »- br 

-1--*]-- 


2_ i__c2 • 

.Pi .». 

p '• 


- 1-~- W -— 

- a> -1-1 - 

i ^ 

/ _ 

1 i l r I -* » “ 

-£-•£- -fi- -£- _ . . 

t£ 


-1--A-- 

S S. 


% % 

- w - m- - 



m-- -T i 

-1 , “ 


-1 m — -m- - 

\ — >-t 4-— 1 -f-1- 

--J 1- (- 



- gp -1-1- 


\ -t- , i i 

M 1 1 

+ L L 

:* tz—tz 

: t— t t= 

t t : 
















































































































































































































































66 


RALSTON CULTURE 



Figure 10 Enlarged.— Explanation: This is a very hard 
movement for one who has not taken the preceding exercises in 
this series. It should not be undertaken until all the three sets 
have been well mastered and the laming period is fully past, for 
the feet will not gain any strength by forcing them to do what 
they are not yet able to properly perform. Poise is one of the best 
tests of power in the muscles of the feet. To walk a straight line, 
or a crack in the floor, or a rail or rope, requires such strength in 
the pedal extremities as will sustain the body without the least 
weariness of the feet. Indeed, the tax should never be recognized 
there, but the whole body should give way first to exhaustion. The 
above movement requires the best of poise on one leg while the 
other is raised and the foot made to describe a circle, as though 
the toes were tracing it in the air. At first the circle should be 
very small in diameter, and may be increased as the power of sus¬ 
taining the body is made greater. Circle to the right on eight 
counts, or as many as the teacher may direct; then to the left; then 
reverse by standing on the other foot and making right and left 
circles as stated. 

















Figure 10 


FOOT EXERCISE. FOURTH SET. 

One two three four 



- ' 

- 0~ 

-1- 


-^ 

: 

-^— 

w 

: 1 

m 

m ^ 

=i -t— 

u 

A ^ 




z±z 

I 

t= 

d • 

* 

W -1 

-1— 

: 3 - 

, d ....: 


/ 

i 

-v-—— -1- 

-3d — 

:f= 

-m- - 

I 

—i— 

-m ■~W~— i 

r 

f 

f- .... 


* * n 


—m— 

—i- 

-m - 

—[- 

—- 

: =1 

-m- — m — 

t— i— 

E - 

—»— 

—!- 

— m- - 

—.- 

—I— 

—i— 

- p- p- 4 

' '- 1 - 

—^ i— i 

-i L_ 1— 

at 

=t 

. c tz 3 


five 


six 












































































































































































68 


RALSTON CULTURE 



Figure 11 Enlarged. — Explanation: This is much harder 
than the preceding movements in this exercise if properly per¬ 
formed. It requires that the weight he kept entirely on the strong 
foot and none of it placed on the other while the circle is being 
described. There are many variations possible with this action. 
In the first place, the music may he fast or slow. Then the circle 
may be to the right or to the left. The change from one foot to 
the other should he in counts of eight; thus, make eight circles with 
the right foot and then eight with the left, then eight with the 
right, and so on for thirty-two counts, unless the teacher decides 
that more are necessary in order to sufficiently tax the muscles. 
The greatest opportunity for variation is in the size of the circle to 
he described. If it is of small diameter, then the center of gravity 
is not drawn far from the other foot and the test of strength is not 
as great. As the circle is enlarged the effect is quickly felt by the 
strong foot, and the temptation to place part of the weight on the 
moving foot is increased. The circle should he a graceful and 
sweeping one, not quick, short and jerky. 



















Figure 11 


FOOT EXERCISE. 

One two 


three four 


FIFTH SET. 

five 



h-fr-T 










m 




—-^v——F-;—!—F—i—F-h- 




... s * 

t zr 


4: £ 


r=S: 


l=jB 


-=!-*-=I-P- 


CjE= 


JB= 


• -, 


.f 






Sil 


^2« S =f=3=£=t 

-#i—-i-1- -m —®h-— i— 


till 


•*-¥H 




8 m.. . . 

--—=^zzz^?!i—r~!— 1 —■—~ ! —'—!—H- 


;^zr 


-*- K --i 

^ -ri.p_r J 

—d 


g g- 

^PF=F=r-r- 


P, 

w 


* „ * « 


—i—i— 


-#■—®P-—i— 




















































































































































































































































70 


RALSTON CULTURE 



Figure 12 Enlarged. — Explanation: The purpose of most 
of the foot exercises is to strengthen the muscles of one foot at a 
time; and, while the other foot may he doing all the work, the first 
is getting all the benefit. It does not add to the power of the foot 
t° move it about as in the last figures of this series; the tax is made 
upon the other, which sustains the weight. In the present exer¬ 
cise, which is the most difficult in this series, the first count should 
carry the foot straight ahead a few inches. The second count 
should carry it around in a semicircle to a point, a short distance 
from that which it first occupied. The third count brings it up 
from this rear point to the place where it began, and the fourth 
count is lost. By this is meant that the foot rests while the music 
finishes the accent. This allows the body to be restored to perfect 
equilibrium. The exercise is to he varied by extending the length 
of the forward movement and giving the foot a larger sweep in the 
semicircle. Each foot should he used for four complete movements. 
Then repeat. 
























FOOT EXERCISE. 
One 


Figure 12. 


SIXTH SET. 


two 


front back front back 







^ • -S r . Fj-: * ■ 

r+- - p - 

±Z—W±Z WW- 

r * —»—n 

-+-— ?4 - y 


5^-*=EES: 


*T—* P- LP— P- 

L4-,-L|-1- 


J Z=jJ 


-b* I- 


y y 'r | g g rg 


-i-1- 


1-H 























































































































































































































































72 


RALSTON CULTURE 



Figure lo Enlarged. — Explanation: In this movement there 
is a tendency on the part of pupils to disregard the necessity of 
maintaining exact positions of the feet, and thus much of the ben¬ 
efits intended may he lost. The best position to begin from is 
the military attitude; the heels together and the toes pointing 
obliquely outward. On count one cross the right leg in front of 
the left, placing the toes together and the heels apart in the shape 
of the letter \J reversed, or A with the bar removed thus, A. On 
count two put the left leg in front of the right leg by swinging it 
around, and make a new angle in the same shape, A. On count 
three swing the right foot around in front of the left, as on count 
one. These swinging steps should coincide exactly with the rhythm 
of the music to avoid a jerky or jarring action. At no time should 
the poise be disturbed. The body may be kept over its gravity 
point by graceful adjustments of the body at each movement. 





















ANKLE EXERCISE. 


Figure 13 


FIRST SET. 



One two one two one two 

nMmmwwvmsmn* ~ _ ^ <9 ^ ill 


T n ... -J q 1 

CL T— TL W- 

r~ r «T “1 ■» 2 1 

7 

7~i 1 . .J -J »J 

( | L. | 51 

+w L h n t •. in 

t 

v l , 1 m2, ! ! 9 m 1 

£%- t h— hat 

» i m jhTj J 


nr J 9 J at 

i ! +*> 1 ! W, 

- p 1— HP tf* « 1 

t. 

r > ^ L«ni r £ r r 1 rra- 

-*1 ml m §^r flf- 

W W m . 

W. 


L± \ ML & fL 

1 P 1 5. 

i L 

Li M i l 


Zj 1 II 

J_L L 

L. L 

^ 1 tr : 


one two 



















































































































































74 


RALSTON CULTURE 



Figure 14 Enlarged.— Explanation: This is called the rock¬ 
ing action of the feet. It is easily performed, but soon shows its 
good qualities by wearying the muscles of the ankles and imparting 
great strength to them. It is best to commence all movements 
alike, if possible, and the pupils should perform the details simul¬ 
taneously. In this action the toes should carry the weight of the 
entire body on count one , and the heels may be raised slightly or 
very far up, as the pupils choose or the teacher directs. On count 
two the heels come down and the toes are raised on the same accent 
of the music. Here is a double action that should be done as one 
movement and not two. The raising of the toes brings the support 
upon the heels, where the base is limited; hence the poise is uncer¬ 
tain. To maintain it requires extra strength at the ankles. The 
rocking may be very gentle or very pronounced, as the pupil de¬ 
cides to make it; but it should be gentle at all times and smoothly 
performed. 




















Figure 14. 

ANKLE EXERCISE. 


SECOND SET. 


One two one two 



r -^-l —1—r 3 *" -I 

-4 

« 

44 


/ fe^4-^=S—i- 

-i—I - --5 

4 


—*-l~ * * c S *3 

/ P Dolce. 

1 * 

\ - 

- r tt=2- rf 2 "’ - 

'-)- h- +~ 


r^‘ 

-i- 

- FT" if -a*H 

\sz-P4 




--1 - ± — z^E-3 


-A- -4-1 

, | -j -*j 

- J - J 


2 — z 

- -g-2 - J J — 

/ /ft -b_ m._ 

®u 

vt• 

-£— p — p— 

\* S 2 s* 2 

/ EX^ * 2 

-3r 


p p ~ p "5 — 

w. s 2 

..2 2 

2? 0 

“ J l 1 



i | ~r —i 

1B-- £ *1 ^ " m 






1 ! - 

[^-t ^ 

t 

t -1 

t- : 


4 t= 


i= 


= s- .**•- '-*+] 


i 


9 -«- 5 #- 




221 


fe 


mf 






a 


«=: 




J 5 J £ 

=F=r=i=i=r=r= 


i 






































































































































































76 


RALSTON CULTURE 



Figure 15 Enlarged.— Explanation: The present movement 
is very interesting and beneficial. There are several ways of using 
it. For mere pleasure we would suggest that the pupil should go 
to the right on eight counts, then to the left on as many more, 
bringing the feet back to the place of beginning. On count one 
move the heels to the right; on count two move the toes to the 
right; on count three move the heels to the right; on count four , 
the toes to the right; and the eighth count will end with the toes 
to the right. On returning it will be necessary to move the toes 
to the left on the ninth count; the heels to the left on the tenth, 
and so on to the end. In one method the feet may be close to¬ 
gether, in another, the length of movement of the toes may he 
slight; in another, the feet may he separated as much as you choose; 
in another, the action may be larger, and the distance will be 
greater from count one to count eight. Then the pupils may go 
around the hall, all in one circle, in which case count one should 
move the toes and count two the heels. 





























Figure 15. 


ANKLE EXERCISE. THIRD SET. 



r ® ESf 

, -z^riix « 

-> j 

v» #l J» 

:* *-■ , ik: 

fm v _ 9 


a ^ a 

j f~”■ 

VsLI L 9 9 9 9 

9 J 1 r . tf 9 

- - 

- -1 - — 9 •• 

ff r , fr ^ ~ « «- 

f - .==* p f 

_ * r __ - -^ a* 

Z*X_- 9+ 9^ L \_ 9 

1 • 


~ar “—' -1 

i^- . si !i a r. L L - r 


r^* 4P— 

r •« 

v^w r:-- :l 


^ • n 

■i~ f- 

—1 

- 1 -— 

-ub-^-ub^ 


\T~ t= 





































































































































































































































































78 


RALSTON CULTURE 


« 



Figure 16 Enlarged.— Explanation: This is a striking move¬ 
ment. To begin it place the left foot in front of the right, so that 
the toes of the latter will cross the heel to the left of the left foot. 
On count one the ankle or lower half of the right leg will strike 
the left leg from behind. On count two the right leg will rise on 
the toes of its foot, using the latter for leverage, and pry the left 
foot forward several inches. On count three the blow will he 
repeated, and on count four it will be followed by the prying ac¬ 
tion. So continue for eight counts. Then, on count nine, let the 
left foot strike the right a blow; on count ten the left foot will pry 
the right backward; on count eleven it will strike another blow; 
and so on until the starting position has been reached. Now comes 
an important change. On count seventeen the left foot is to swing 
around behind the right and strike it a forward blow; then the next 
count will pry the right foot forward, and the same movements 
will be repeated until the thirty-second count has been reached. 





Figure 16. 


ANKLE EXERCISE. FOURTH SET. 


-f 1 IJi—1 




/ /r uii. z ^zzj zj —2 

... ft. — 

■H—ft ft mr 


ma 1 1 

1 fffv a .J _ __b -J -J —ft 


Jz T r ft« 


J d & i “—1 

i d_ft • ft—• 


s L L r' 

4 

9 ——b 0 ■* -~b -\ 

/ 'l... ft:_ 1 -ft- -ft- -ft- -ft- 

-*-■*-H—- 1 

•0- 

Eft* Eft" -ft* ft- 

f /i*V A- -1- i— m — i— i— - ■ m t- 



. Ie ft _ ft 1 ft n 

V I ^ |— 1— [— [— \— — —fz L 

t— ft~ r t~ 

I ■ 


\ wia U L 1— 1-1- I- —1-1 

r 1 • i 

y 

p i ■ r i- f - j 




& f=?i 

ft ft p— -p- - 

r 

—*1 *1 5 S , 

: ft p p ftz4= t=H 

- =1 -T “ 4 -=S : 

L -ft • *-ft ft Zb- 

t s i t » 3 

£^4-4- j-1 


-4— 1-1—1-i-tzz 





























































































































































80 


RALSTON CULTURE 



Figure 17 Enlarged.— Explanation: Take the military posi¬ 
tion to commence with. On count one place the weight forward on 
the toes, at the same time swinging the heels out laterally. In the 
early practice it is best to make a narrow letter V, until the full 
action is understood. On count two bring the heels together jn 
the first or military position. As the music should be played 
quickly, this alone will soon weary the muscles of the ankles. By 
and by let the heels be thrown outward in a wider position of the 
V; and in time the heels may be swung so far around that the feet 
will make a straight line, the toes touching. This is a severe test 
on the strength of the ankles. It is not allowable in this movement 
to raise the heels at all. They should be kept to the floor all 
through the practice. A quite rhythmic action indicates grace and 
good poise. 





















Figure 17 


ANKLE EXERCISE. FIFTH SET. 












































































































































































































82 


RALSTON CULTURE 



Figure 18 Enlarged.— Explanation: This ought to he associ¬ 
ated with the light step movements, but its great value in imparting 
strength to the ankles makes it a more important exercise in this 
connection. It is by far the hardest of the ankle series. Seem¬ 
ingly it is like Figure 17, but its action proves quite different. The 
main characteristic is in the raising of the heels as they are turned 
out on the second, fourth and all even-numbered counts. At no 
time should the heels touch the floor. In the early practice it is 
best to raise them but slightly, and turn them out as little as pos¬ 
sible while keeping a distinct action. Later on turn the heels out 
more and more, and raise them higher and higher, until, finally, 
the whole body is on the jump. You will catch the spirit of the 
music, but the sensation is so pleasurable that you will overtax your 
strength before you know it, as is too often the case in the ball¬ 
room. 























Figure 18. 






—i- 

Sr 


:=} 

m 

—i- 


- 4 ~ 


m 


1 




= 3 = 
















































































































































































84 


RALSTON CULTURE 



Figure 19 Enlarged.— Explanation: The series of knee move¬ 
ments., while fully as pleasant as those of the preceding series, and 
much more artistic, will test the powers of the special muscles 
more than any others. The knees are the centers of muscular sets 
that are always giving way, and need as much attention even as the 
lungs. We never realize how weak the knees are, in fact, until the 
health gives way or the mind is affected. The term, “weak-kneed,” 
is a true one, and applies to the mental, moral or physical character 
of the individual. In fright or timidity the knee muscles are 
actually weaker than in courage or calmness. Old age first gives 
way at the knees, then at the neck and waist. We believe that 
any person may be trained to so carry the body that a firm and 
erect attitude may he maintained at the age of a hundred years, if 
one lives so long. The above exercise is connected with others 
that follow, and will he considered with them. See Figure 122_ 





Figure 19 


KNEE EXERCISE. FIRST SET. 

One two three four five 



six 



. - • . 

:q^ ps =t 

-1 w~- 

If. t=s=±f- 

l 

t±= k=±r- 

mf - 

N 8 ? F. 

—•*—fr*-—-1-^— 

L 1~ 3 

\ 

(^— r *C—*£- —=j- 

i S 

; t »... 

-r— fff*E— f-j 

i-—i—* 

- t— El 

L *—,— h L h 

-^= t-F-3 


/ -PE” 

> 

1 

• :pE ^ —j J 

f t -t=f 

: pr-tz- 4 - ^ -t— t- 

4 - . * 1 

H- L l-1-- J 

S=fM= 

-a— ,-1- 

r p ■ s f - ^ 

t= t= t '- t =S tt 

* * » j 








































































































































































































































86 


RALSTON CULTURE 



Figure 20 Enlarged.— Explanation: This is like the move¬ 
ment of Figure 121 (which see), except that the body moves to the 
side instead of to the front. We will discuss the two together at 
this place. It is of the highest importance that the pupil should 
learn to bring the heels together in the military position, which 
keeps the feet in the shape of the letter \f. After every step in 
the knee exercises, this position should be immediately taken. 
Thus, on count one the weight is carried to the front on the right 
leg, which is slightly bent at the knee; on count two the right foot 
is brought back to the side of the left foot in the military position, 
being the action of Figure 121. The same thing is done in Figure 
122, except that the step is to the right lateral on count one , and 
to the military position on count two . By strictly observing this 
rule, it will be possible to make the many changes that add so much 
to the beauty of the knee exercises. See Figure 123. 






























Figure 20 


SECOND SET. 


KNEE EXERCISE. 


One two three four 




R R=^~ 

F=T J q 

r —1 —1— 

4-*—*—v- 

-ft- ~Sr 

m 

! t 

=3—*—— 

R 

11 

■ ** 

* 

: ? ^ 

p-4 < «£—q 

4—p—i—i— 

s* L L - 

-j-j- 

Ej!-1— 

—al p p 




/ “07^-1 “1 1 " 

— 4- 

1 

L —1 ■ l R 1 

r d _ _ - 


1? 1 .J JP 

J -a§ 

7 7] r 7 

4* 


1 

N* F 

in 17 J p 9 

]■ v 

72 P ^ 

r m 




£ p 

V T ** 

Ijp 





— 

/ "Sr ft" -ft- -ft- -ft- -ft- 'I 

l 1 

ft 

1- 

3p£:^£ 






1 

p" P r ■ ■■ 

1 17 ... ! r m 

,. Wl rz 




BP 1 


\ . 72 R Tin r~ rz_ ^ zz j l_ z_ 7 — _ ■ _ “ 

\ r — _r EZ _ 


w LZ ZZ 






p? .f ■ 

- ?2* “ f 

• 

1 

— F-- 1 -1 

£ 

fig* 

7 • 

-| *» 

- . -*S : _j : 'S- -*3r 

=±=t 1 —1=^ U l;: - 

1 i 

Eb p^=] 

p S S“d 


n h ^ 

“trrfr- 1 "- 7=1 • 1 

1 

rTd . I 

r -l- 



^ 

F^h - Tl 

R - 

vrj • 

r~y -• 


L^i . v. 1J 

#VT\ ^ ^ ^ 1 

r , 

r 1 



F4. ^ ^ U 

\M/ ^ NF klft 2 

1 

p -p ! v j 

L>* 

« p 1 

La P 

b s Y -r * T 1 

ii ^Ti ~ 

^ ^ p 

I 4 ^ 

» 

/^\« u A ! 

! 

5 K- 

m m 

R- 

p -1 

1 | -1 

trJi, 1 / F n* n* ~F "n» n* 

--1 

p r 

11 1 

U— 



VL-7U | ^ »\ »\ 

-|-1 

1- 



r - 

Up ^ ^ 4 

-dz-L,- 



hg t td 

1 

-i—M 

1 J 
















































































































































































88 


RALSTON CULTURE 



Figure 21 Enlarged.— Explanation: This is the same as the 
exercises which axe presented in Figures 121 and 122, except that 
the action is backward. It is not material what foot begins the 
movement, whether the right or the left. Some teachers begin ail 
exercises with the left in preference to the right, and others reverse 
this. The class should be taught to work in harmony in this re¬ 
spect, either using the right to begin with at all times, or the left 
at all times. Figure 123 is a very hard and wearying exercise, and 
is accordingly very beneficial. To make it easy the foot should take 
a step backward of a few inches only, and the body should not be 
lowered much. To make it hard, let the foot take a large stride 
back and the knee be considerably bent. In all the knee exercises 
the first eight counts should be applied to the right foot, the second 
eight counts to the left, the third eight counts to the right, and the 
fourth eight counts to the left. This will complete one figure. 
Then the same counts will apply likewise to the next figure- and 
so on. * 


























Figure 21 


KNEE EXERCISE* 

One Ore 


three 


four 


THIRD SET. 

five 




3 -l-f=l= 


Az 


t=3= 


m 




• 

ss 


ifcrrt 


cr+ — ft — r=l 

pijK—1 

mr - 

mr 

rw ^ 

Wr 

r 

r—;——• 

E U 

FT- - ^ H 

P=~ 

t 1 

t= 


P i 

• 

: J t 



six seven eight 


/zMzr-^ -- - 

:=H 

—1 

^ i 

1—1 “1— 



^ WF 

i "• 

v» J 


cJ. • 

Xtm. • f— r 


r ^ ^ 

l _ cj rA 



\ 

i— 

\7) ^ ^ 

) * -2- - 2 - . S - -5- s 4. 4. - ? 

: : , 

I /wWt ^ w 


L * * 

m S 

m F f 3 

1 1 v V *fT 

- & • 

\ rz> • 

«ii 




r i 

i i i 

L L J 

\ -*T-1- 

J 

L L 

-4— L 1— 

! 1. 













































































































































































































































































90 


RALSTON CULTURE 



Figure 22 Enlarged.— Explanation: Commence with either 
foot. If yon use the right first, carry it around behind the left, so 
that the chest is turned from a front to a side face. On count one 
this act of moving the foot and lowering the body will occur; on 
count two the military position will be resumed; and so on for eight 
counts. Then, on the next eight counts, the left foot will be placed 
behind and to the right of the right foot. The action is a very 
pretty one. In public exhibitions the four movements of Figures 
121,. 122, 123 and 124 should be performed together, using the 
music of Figure 121, as there is not time to change. The first 
eight counts will carry the body forward and back four times each 
on the right foot, arms extended front; the next eight will carry the 
body forward and back on the left foot, arms extended front; the 
next eight to the right lateral, arms lateral; the next eight to the 
left lateral, arms lateral; the next eight behind on the right foot, 
arms high up; same on left foot; and the last two eights as in 
Figure 124, arms down and back. 








Figure 22 


FOURTH SET. 


KNEE EXERCISE. 

One two one two 



it 1 - 

F-1 

F - 

-1 

F— ,- 

—i-- 


L-<—..T^ 


1 

t=g • 

-d • 

I 







=j—t=E= 

—1 £ s 

=^—f f- 

“=J Ne * 

==Fg=£= 

\ ^ -H- * * — 

\-« |-1 

-—4 —r—r— 

r r 

L - # —r i— 

ft f— 

L t—+ 

— * —4- 1 — 

L 1-1- 















































































































































































92 


RALSTON CULTURE 



Fig. 125 . Knee Exercise. 


Figube 23 Enlabged.— Explanation: This movement is easy 
enough to understand, but is too difficult to perform except in very 
brief periods. Instead of giving thirty-two counts to it, the wiser 
plan is to give about four until the muscles are very strong, in 
which case it will quickly add to their power. Otherwise the time 
and effort will be fruitless. One teacher began a series of lessons 
with this exercise; as a result the pupils became so lame that they 
could not walk without pain for the next two weeks. Yet all 
classes are able to perform the action after the preceding exercises 
of the series have been well practiced. We advise a slight lowering 
of the body to begin with, even when it is reached in the due order 
of instruction; then let the body down lower and lower each time, 
until the knee can brush the floor without touching. It should 
change on every eight counts from the right to the left knee. A 
gymnasium professor, who thought that tests of strength and en¬ 
durance could not be made without apparatus, acknowledged that 
this surprised him. It was a new idea. 

















KNEE EXERCISE. 


Figure 23 


FIFTH SET. 


two one two one two 



one 


two 





- g 4- 




-j I- -p—I--i— 





~*rz 

0 - 


sr 




m 








S 


- Er- 


-—(-- 




=S=:i 


it==z^2: 


i] 

















































































































































































































94 


RALSTON CULTURE 



Figure 24 Enlarged.— Explanation: This is the only knee 
exercise where both knees work together, both being bent at the 
same time and in the same way. Very few persons, even profes¬ 
sional athletes, are able to descend to the floor from a standing 
position by a smooth, uninterrupted descent. Hence we divide the 
action into two parts each way, and provide music that exactly suits 
it. The hands should rest on the hips as in Figure 126. On count 
one lower the body until you sit upon the heels, which will be 
raised. On count two let the weight of the body come down to the 
floor on both knees. On count three throw the weight back to the 
position in which you sit on the heels. This can be done by a quick 
impulse. On count four arise to a full standing position. Repeat 
the whole action again and rest. Very few persons are able to do 
this exercise unless they have strengthened the knees by taking all 
the preceding movements. 






























Figure 24 


SIXTH SET. 


KNEE EXERCISE. 




si g ■-=i 

“=-T“S 

—i 

31 

N=e£,13 J 

Ptjf —1~ 

i • »i 

u r ^ 

i i 

t s — s 3 


t * . U U 

t= *— 1=—i 




/ 2 §S 4 -Hzd--T 5 q fcq-S £^~5 _*r ~ * 

P- ■ * « - L =rS-——t— pL. 

# 

_—IV-j H- 

3*4 q : 



-'£::-« —. 

Mi i T i i r 

— i 

■p 

—E—J— N 


:■# 1 


, -f s.4—P5 

~j ■! —i 

1 1 — H 1 ... -1 

□^15^=1 H 

/> 11 “1-1 

-1 ~m -— "n— “! — . - w- r m 

Li? * -m—^- — ^ —q 1-1 

/ ITT ^ ^T - d 

-Pr-ad F v 1 — i-!—! —!-!- rPPi ! ~ m .. 1 

L -P—-m CA P 

1 vL7 r -- - ?r? -L _ L - u 

l t/ 

/ 

i- - ^ it®' .„.i„r-=r 

*• ■« - *• i . .*• « .. 

1 /»W tL 

P P 

rr c 

W -1-t-- 

g- pi II 

\ (b§P-4— 

St 4 1* 

£ s 

-i—f 3—f- 

:q .L_ 1:1 

\ •^* c -4r-^- 

P -* P 

4 E~ j f - 

-J* 1 ~wd' 1 

—i-- ^ — 1 - 

# 

-=3 1= P tl 

-p 



















































































































































































96 


RALSTON CULTURE 



Fig. 127. Hip Exercise. 


Figure 25 Enlarged.— Explanation: We come now to the first 
of the hip series. There are two places at which the body may be 
bent; one is at the hips, the other at the waist. If one is in ill 
health, or if the muscles are lacking in vigor through lack of use, 
there is a great tendency to bend always at the hip and never at the 
waist. Some persons cannot bend at all at the latter place, yet 
health requires action and pliability there. It is quite easy to per¬ 
form the movement of Figure 127, but we shall use it as a fore¬ 
runner of the development of power at the waist. In the present 
form the torso, which is the trunk of the body, should be lowered 
more and more with each trial, without bending the knees. By and 
by the waist muscles will acquire flexibility, even though they are 
not being bent. Lower the upper body on count two; raise it on 
count three; and so continue for thirty-two counts. Count one is 
preparation only. 























Figure 25 


FIRST SET, 


HIP EXERCISE. 

One two one two 











































































































































































































































































98 



n'g\i29 



Fi g. 126. 



Fig.130. 




RalsfOQ Physical Culture 




























































































MUSIC AND EXERCISES 


99 


In Ralston Term at Ralston University the exercises 
are sometimes varied to admit of more pleasure in the practice. If 
yon will look at Figure 127 you will see the plain hip movement, 
while in Figure 128 the same action of the hip muscles is given 
more encouragement by the aid of a wand. Place the wand as 
high over the head as possible as a position of preparation on count 
one. On count two of the music on the preceding page, throw the 
wand to the front of the hips, hard against the body; on count three 
raise it again to the position high over the head; on four lower the 
wand to the hips; and so on for sixteen counts. 

It will be noticed that Figure 128 is the position of prep¬ 
aration, and that Figure 129 shows the place where the wand is to 
be held, while Figure 130 corresponds with Figure 127. After the 
sixteen counts it is supposed that the pupil may be able to add a fur¬ 
ther variation by carrying the body lower than is indicated in Figure 
130. On count two bring the wand to the hips, held hard against 
the body, and bend as in Figure 131. On count three raise the 
wand high over the head, which is the same as in the preparation 
on count one; on four lower the wand to the hip and bend over it. 
Continue in this way for thirty-two counts. 

It is well to adhere to the practice as in Figure 127 for 
a week or two; then begin to use the wand, and in the latter case 
to abide by the lighter bending action of Figures 128, 129 and 130. 
This will save overdoing in the earlier stages of the course. It is 
always bad policy to get too weary at first. There is a difference 
between tiring the muscles and a general exhaustion of the vitality 
of the whole body. After the second week it may be well to bend as 
low as in Figure 131, and after the third week, as low as in Figure 
132, always holding the wand hard against the body on the even- 
numbered counts. Later on, when the muscles are more flexible and 
the general tone of the vitality has improved, as it surely will to a 
remarkable degree, then may be a good time to even exceed the 
dip of the head, and some experts are able to hold a wand at the 
hips and bend so as to bring the head almost to the floor. This is, 
no doubt, an extraordinary range of action. But the movement 
described in Figure 132 is ample for all the purposes of health. It 
is a fact that this part of physical culture is of the highest value in 
the recovery of health. The vitality of the organs is so much bene¬ 
fited by persistent practice in this direction that it should be made 
a part of one’s daily life. 


L.ofC. 


100 


RALSTON CULTURE 





F i' g . 134. 



Fi g.f35. 




Ra I sf or) Physical Culture 

























































MUSIC AND EXERCISES 


101 


We come now to a different line of variations of Figure 
25, or the enlarged form as seen in Figure 127. The wand is used as 
in the group running from Figures 128 to 132. On count one place 
it high over the head as a position of preparation. This cannot be 
done when the hands are akimbo, as in Figure 127; there the body 
must wait for count two. But in the use of the wand the pupil may 
stand with that in the hands held down in front, then raise it on 
count one and lower it on count two. We have said that the object 
of variations as taught in Ralston University, of Washington, D. 0 , 
is to afford more pleasure; hut greater benefits are derived from all 
the variations, not merely because they are conducive to the crea¬ 
tion of sunshine, hut largely on account of the extra value of the 
movements. 

When the wand is brought downward on count two , 
the position is not against the body as in Figure 130, hut some 
inches in front of the body, which is to he repeated on counts four, 
six, eight, and so on to the end. This prepares the way for other 
movements. In Figure 135 the even-numbered counts require a 
lowering of the wand to the knees, or about that locality, hut some 
inches in front. It is quite different from the action with the wand 
held against the body at the hips. In Figure 136, the bending is 
lower yet, and requires the wand to he placed on a height with the 
upper ankle. This occurs on every even-numbered count. 

In the final variation of the hip movement, as seen in 
Figure 137, the wand should be brought to the height of the toes. 
This may he accompanied by a very slight bending of the knees. 
In some systems it is required to touch the floor with the tips of the 
fingers without bending the knees; hut to keep the legs straight 
while so bending is apt to strain the cords and do an injury to them. 
The exercise is a good one after sufficient preliminary practice has 
been indulged in, and the muscles are flexible and at the same time 
strong. The impulse of the wand, together with arms and torso, 
all descending together, quickly carries the pupil to the danger 
point of straining if the legs are kept straight, for which reason we 
recommend the bending at the knees as seen in Figure 137. Ap¬ 
proach even this gradually. Over-enthusiasm often tends to the in¬ 
jury of some muscle or cord, as the body is merely a machine that is 
as capable of being damaged by violence as any other. Avoid 
roughness of action and the straining that comes from excessive 
exertion. ! 


102 


RALSTON CULTURE 



Fig. 138. Hip Exercise. 


Figuke 26 Enlakged.— Explanation: Commence with the feet 
in the military attitude; heels together and toes out; the face to 
the front. Place the hands on the hips. On count one swing the 
middle of the body out to the right in a lateral direction a few 
inches only. On count two reverse this by throwing the middle of 
the body a few inches to the left. The face should be turned in an 
opposite direction each time; thus, when the middle of the body 
is thrown to the right the face in the same act and count should be 
turned to the left and vice versa. Little by little, as the practice 
proceeds, the hip should be given a greater advance laterally, but 
not suddenly. Care should be taken not to jar or jerk the body, as 
lack of smoothness destroys all the good effects of exercise. One 
matter must be strictly observed; the head should remain over the 
feet in a vertical line, and not sway either way. It particularly 
should not incline with the action of the hip. It may be turned 
and yet not made to lean. 































Figure 26 


SECOND SET. 


HIP EXERCISE. 


One two 


Jp 

J-1- 

J — I - j — 

-ipT- ( 

i- 1 -S 4 - ■> t 


j- a 



JL- a f J a 


- 2 , m —~ 


- 1 -- 

Md—i- 

tpT H * - 1 -L * 


% '-f 



■— -—-1-—---■£- l- 

: -ft- •*: i 1 

S 1 K 

/mY It 


2 . & K. J 

r s s k 

- 1 —1 

^ J 1 


a 


a - l ?a r: rr:^ 

" ~al •• 

i-»- -m —| 

-:- 

U l 


c ^ p p -—p 

— ■*) -j 

-i-1 

I -4 " ^ J 

--- p 

r~ 



m 

l-«--4—1 


two 


H 

- K- 

—i- - 

■»— m m —r—i 

a - 

I# 1 ! 

L .h. K 

X m 

i a 1 III 

m S IS •* a ; m 

a a 

c 

r 

^—S— 


* * ? S :« ^ 1 < 

- 51 —2~: 


Y- —i~ 

h 

—Is i . 

L -#-— 0-¥t w -0 — 

^ i hi h 


A? ! 

r J 



i r» ^ n i 

KZp. • 

J a 

rw =1 i a -}— 

- a 

m 1 — rwi *i —i -*i -| 

wdi 

\ Ti m 1 



pr -i h"-1 -1 —j -1 “1 


^ J J -J 1 

j 111 

_ 

p r J '1 J S J 1 



r 






































































































































































104 


RALSTON CULTURE 



Fig. 139. Hip Exercise. 


Figure 27 Enlarged.— Explanation: The action of the hip in 
this system of exercises is exactly opposite that of the waist, as 
will be seen by reference to later movements devoted to the waist. 
Yet the hip is so close to that portion of the body that it seems as 
if it were not possible to have two entirely different series of move ¬ 
ments applicable to these adjacent parts. In a true hip exercise,, 
not to the front, the head remains over the feet; in a true waist 
exercise of front or of lateral action the head passes out of its fixed 
position and accompanies the inclinations of the torso. In the 
above movement the hip passes to one side on one count, then to 
the front, then to the other side, then to the back, making the full 
circuit. It is well to reverse at the end of every series of four 
counts.. Thus, if you start to the left on count one, then to the 
front, right and back, you should start to the right on count five 
and to the front, left and back. 
































Figure 27. 


HIP EXERCISE. 

One two three four one two three four 


-—_ 


* > 

1 *-• s 


THIRD SET. 

N -A- 


•“s*. • *—• * — c -*—tj*—*—§—^ 

N 




i 


: i a > 


I 






HS- 


_j. 

_i—rs?_i j0m _.. 




*3— 


-fe- 


.*em __>. 


g 


=Jt^UE=3- 

-•«-1#~ 


* .s» 




f.E^:.|- 


i— 


~^—?zi+zwz~zz2&z 


= 1 - 


24- 


■#—>—rid^—> 


"=**S : € r s r 


, - 


* ! ti-,! 




-O 


— -^—i—r- 




“g-“ 


• S r* I- 5 


* -h- 




Sl Ji|3- 


-4—*- 




=F=^=Pfc=F^=^—q—Pt==q=2==t==^=jfcq 


= 1 = 


- N 



-+ ir - r H ~1 3 

^gfp 


: g Fbr n — q— 

1--* —E=Eq—r - E c "&^ r- 


•n- 


l=gE 3 

:q—gt3 


j=z^q?5d^:=& 


* >* * 


—^—r—n —zj 

PPr 


-s- 


-g- 


- r ——- ^^1 P - +W~\ •--^— 




d=^=^=ig=F^=f 

^!=:r==1=^-==1=t= 


=T=S= 


* * * 


i 


.. J .. ^r _ — J 

—-^-■$*±=-171 — 

—IIk=3-K=S- 


•IS- 


-P3- 


1 


^ a * jq q y -:.-E|.-| f > § » 




=f= 




■Pf . y . -i -J>jC 5 


f 


Hi! 















































































































































































































106 


RALSTON CULTURE 



Fig. 140. Hip Exercise. 


Figube 28 Enxabged. — Explanation: Here is a movement of 
the highest value that has gone to waste by the inability of pupils 
to catch its meaning unless shown by some teacher who is familiar 
with it. Many instructors have failed to understand it. The pupil 
is allowed to merely throw the foot across the body regardless of 
the more important part of the exercise. If it were intended for a 
light step it would have been so classed. The first essential is to 
sway the hip to the right as far as possible; the second essential is 
to swing the left foot across the other and to the right as far as 
possible; and both movements must be made together as coimt one. 
Then immediately throw the left hip as far to the left as possible, 
and swing the right foot across the left leg in that direction, both 
as count two. These are the characteristics of the exercise. Some 
make the mistake of not giving the foot a full lateral swing. 
























Figure 28. 


HIP EXERCISE. FOURTH SET. 
































































































































108 


RALSTON CULTURE 



Fig. 141. Hip Exercise. 


Figube 29 Enxabged. — Explanation: This is a difficult move¬ 
ment to execute properly. It looks in the picture as though it 
might be easily done, and the first few counts seem to indicate the 
same thing; but it becomes the greatest test of power and endurance 
of all the exercises thus far given in the present series. In the first 
place the weight must be sustained on one foot, while the body 
makes a complex movement of its parts. The hip is thrown to the 
nght on count oiw; and while this is being done, the left leg, the 
shoulders and the head are all thrown to the left lateral. The leg 
should be lifted as high as possible and to the side, not obliquely 
forward. On count two the hip is thrown to the left and the free 
leg, shoulders and head to the right. The body should depart as 
far as possible out of a straight line. The fact that the inside cords 
at the upper part of the legs are wearied is important. There is 
no exercise but this that reaches the muscles there. 



















HIP EXERCISE 

One 


Figure 29 


FIFTH SET. 


two oue two 




I 


^-1—— l ——'N—I—-j- 








-m -~— -49 - s — i- — l —' «- 




-=*-n- 


> 


3-=M- 




Sl-S 


* * .'!*:• 

- - - ►- - 


j--=r=r.»" 


ifenz^: 


-=i-n- 


:=j= 


m~ tn— 




=t 


one 


two 


one 


two 



one two one two 
























































































































































































110 


RALSTON CULTURE 



Fig. 142. Hip Exercise. 


Figure 30 Enlarged. — Explanation: This is a peculiar exer¬ 
cise and one that serves to reach muscles that cannot be trained in 
any other action. It is not a single muscle that is affected, but a 
combination. Owing to the number of muscles in the body, the 
combinations are many. Relief comes best when it changes the use 
of a muscle; for activity with variation is often better than activity 
with absolute repose of the muscles. Raise the right knee on count 
one , lower it on count two, raise it on count three, and so continue 
for eight counts. On the ninth raise the left knee; lower the left 
on the tenth; and so on to the end of the second eight. After a 
brief rest, perform the movements alternately, raising the right 
knee on count one, lowering it on count two; raising the left knee 
on count three , lowering it on count four; and so continuing for 
sixteen counts. The hip muscles are strengthened and benefited, 
provided all the preceding exercises in the series have been well 
performed. 













Figure 30 


SIX SET. 


HIP EXERCISE. 


One two one two 




































































































































































































112 


RALSTON CULTURE 



Figure 31 Enlarged.— Explanation: Here we commence the 
series of movements that are designed to strengthen the muscles of 
the waist. They are very old, probably four thousand years of age, 
the first two. The bending at the waist is the most beneficial of 
exercises, as far as immediate results are concerned in the matter 
of health. Nothing better can he practiced in cases of stomach 
weakness, indigestion and inactivity of the system. The above ex¬ 
ercise requires the bending to the right on count one, and the head 
and shoulders should he inclined to the right as far as possible. 
On count two the action is to the left. The more the head is low¬ 
ered the more the waist muscles will he called into effort. This 
little fall of the head makes a great difference in the tax which is 
placed upon the lower chest and waist, and this is of decided value. 
Be sure not to bend at the hip joints. 

























WAIST EXERCISE. 


Figure 31 


FIRST SET. 


two one two one two 




j£> -PL , 

o t Pr -t-fr. -t--*-' J J J 

J tz*' J 

?=V fr^m^L- 

_i_ i_ |_ | __ 


z ^ * 



m ml 

/ U n—i *1 i r i 1 

^11 



9 j h rrr ^ 

IT 1 »S 1 


1 

B^l ” 

1 ^ j 


dz~j ~A 1 


BgZ 

1*** fe*V 

tJ ^0- 9 

! 4 1 f : ! - . „ 

i -a 

a- a* 

#" i -^ar 

J C Z3 ^TL 

-1 W0 —i m 

^ ia . i a 


za - 

Sk J P 

E7> , ^ IZ ZJ rzc ^ n m n Z d _ L_ J 

q-d a? d 

Z » *-H 


_dz d _ a d j 

* -r^. 

--a- 

' r d—t- 

L—a- 

—=r 

-a- 

































































































































































114 


RALSTON CULTURE 



Figure 32 Enlarged.— Explanation: This is the second of the 
ancient exercises, that of Figure 31 being the first. A variation 
consists merely in the nse of the forward and backward action. But 
we propose to combine them, and save unnecessary waste of time. 
The exercise is divided into four parts: The first is the bending to 
the side; the second, to the front; the third, to the back; the fourth, 
to the other side. The hardest as well as the least valuable of the 
details is the forward bending. Few persons actually use the waist 
line as the place of hinging; they think they do so when in fact, 
they use the hip joints as the line. Experience shows that it is not 
possible for very stout persons to indent the abdomen; the hip will 
invariably take the action. The next exercise is designed to over¬ 
come the difficulty. In the present movement it is necessary to 
reverse at every four counts. 




























Figure 32 


WAIST EXERCISE. SECOND SET. 



H 

. - F=j 3 3 f : =) —« * 1 

r -®-- ~p^ JL_ 

g 

e w- w w *! ■ * „ | 

^ ^ (ft ' -jl * ^ 

i i i I f 

Jfctzt- rr3 I® ' ... H 

F s -i* ^ : s #* tf^zd 

L r ^-L-1-p J 

i e ''fb n 

H“ f- 1—h l— 1-- 

-iS*—---1-1 

-E =3 













































































































































































































116 


RALSTON CULTURE 



Figure 33 Enlarged.— Explanation: This movement has been 
introduced into the Ralston System during the past year, owing 
to the difficulty met with by stout persons in trying to bend for¬ 
ward at the waist. The use of the hip joints is very clumsy and 
ungraceful, especially in the act of bowing. Flexibility at the waist 
line, and the ability to bend there, are necessary to good health. 
A few minutes’ practice daily will produce a vast amount of good, 
and the best exercises for health are those that affect the waist and 
chest muscles. In this movement care must be had to avoid a 
lateral as well as a forward or backward action. Half way between 
the two, or an oblique direction, is necessary. These obliques run 
as opposites. For instance, on count one bend to the right oblique 
back; on two bend to the left oblique front; and so continue for 
eight counts. On nine bend to the left oblique back; on ten to the 
right oblique front; and so on. Keep the hands at the waist line 
to see that the hinging occurs there. 



WAIST EXERCISE. 

One 


Figure 33 


THIRD SET. 


two 


three 



four 


five 


six 














































































































































































118 


RALSTON CULTURE 



) 


DeT&ils Of Fig. 33. 


Fig. 147. 



F 1 g.l49„, 




RalSfor) Physical Culture 






























































































MUSIC AND EXERCISES 


119 


The object of the variations associated with Figure 
33, which is presented in enlarged form in Figure 145, is not to 
depart from the main action of that exercise, but to explain it, 
and enlarge upon it. By referring to the series of waist exercises 
beginning with Figure 31 and ending with Figure 36, it will be 
seen that the first is a lateral movement, and the second a rotary 
action, in which the latter assumes two of the positions of the for¬ 
mer without reproducing any of its real motion or affecting the 
muscles in the same way. Figure 34 is a delightful, but distinct, 
change from both; and the same may be said of Figures 35 and 36. 

In Figure 33 the object is to tax the oblique uses of the 
muscles, an entirely new idea in physical training, and of the high¬ 
est \alue in this line of education. These oblique movements may 
be varied to a much greater extent than is at first supposed, if 
the motion be made to throw out the middle of the body, it is 
largely a hip action, yet causes a decided waist tax when done 
obliquely. On the other hand, if the upper part of the body is 
made to take the full movement, the waist alone is subjected to 
the exercise. Start with the erect standing position; on count one, 
incline the upper body obliquely forward; on count two, come to 
an erect position; on three, incline obliquely forward; and so con¬ 
tinue for eight counts. Then, on count nine, incline the body 
obliquely forward, but in the other direction; and continue to com¬ 
plete eight more counts. On seventeen, incline obliquely backward 
for eight more; and finally incline obliquely backward in another 
direction. 

The most important of the oblique variations is seen 
in Figures 150 and 151. Commence by an erect standing position; 
on count one place the hands back of the neck and incline the body 
right oblique backward, bending only at the waist; on count two 
release the hands and carry them by a sudden movement down to 
the left foot. This compels the body to cut a cross-oblique line from 
right back to left front. After eight counts of this, carry the 
hands to the neck while the body leans left oblique backward on 
count nine; then bring them to the right foot by a diagonal move¬ 
ment to the right oblique front. This is a hard and vigorous vari¬ 
ation, and requires that due attention be given to the exercises that 
properly precede it. 


120 


RALSTON CULTURE 



Figure 34 Enlarged. — Explanation: This is a very interest¬ 
ing as well as beneficial action, provided all the requirements are 
strictly observed. The heels should be together, toes out; the 
calves of the legs should touch, and be held firmly against each 
other; there must be no twisting of the lower half of the body, for 
the tax would then be removed entirely from the waist and placed 
at the ankles without benefit to them. Imagine that the legs are 
pinioned together and held in a vice, so they cannot move. On 
count one swing the extended arms around to the right. On count 
two they should swing to the left. Keep the arms well back so as 
to make them as one long pole, and do not lower them from a posi¬ 
tion parallel with the floor. See that the waist gets all the tax. A 
pleasant way of performing the exercise is to commence with short 
movements to the right and left, and gradually increase their ex¬ 
tent. 



























Figure 34 



four j*_ five six 

































































































































































































122 


RALSTON CULTURE 



Fig. 153 . Waist Exercise. 


Figure 35 Enlarged.— Explanation: This is a beautiful 
action when performed by a class in unison. Most teachers wish to 
present their classes to the public, and there are no better exercises 
than those which occur in the series of the knee, in this of the 
waist, and in others where the arms aid in giving picturesqueness 
to the work. The fault of an exercise of this kind is in the in¬ 
ability of the pupil to hinge the body’s bending at the waist. Be¬ 
fore commencing the practice it is well to place the hands hard 
against the sides, above the hip bones, and press in to see that the 
bending occurs there. The arms should form a walking-beam in 
their action, and must be kept perfectly straight even when they 
are made to tip. The exercise should commence easily and gradu¬ 
ally increase until the bending may be sufficient in time to permit 
the arms to assume a vertical attitude. 






















Figure 35. 

WAIST EXERCISE. 

One two one two 


FIFTH SET. 

































































































































































































































124 


RALSTON CULTURE 



Figure 36 Enlarged. — Explanation: This is the most telling 
of all the movements in the waist series, and may well suit the 
powers of an athlete. Like every final exercise in a series, it is 
especially hard and valuable. If a person were to seek this line 
of training chiefly to acquire great strength, the finals could he 
classed together as the most powerful known to legitimate physical 
culture. By this we mean a system of exercises that cannot strain, 
yet are able to produce the greatest strength. In the above move¬ 
ment it requires flexibility at the waist to bring the forehead to the 
knee. This is count one. On tzvo the torso is bent backward and 
the arms extended behind the body, the farther back the torso is 
thrown the more severe will be the tax on the muscles of the waist. 
This is the only exercise ever introduced that compels the waist 
muscles to yield in the forward action; the hips cannot interfere. 







Figure 36. 


WAIST EXERCISE. 

One two 


one 


two 


„ SIXTH SET. 

one two 


cS3Ei 


-=t > -ptft 

' ^ is- 

'f I 

#-V--- 

w 


£ 

t-a^-fcj= fcJ= — 

t 

>* 

-t^-1 



P 


(<m 


JL. 


it: 


4 

- W~ T 


=f: 


—t- 


j£_J£ 

-P - S 













































































































































126 


RALSTON CULTURE 



Fig. 155. Chest Exercise. 


Figure 37 Enlarged.— Explanation: This is the first of the 
chest movements, and it can he made as effectual as the ambition 
of the pupil demands. In ill health the lower chest is inactive, 
and the same is true in cases of sedentary disposition. The lungs 
are used only in their upper region, although they extend down¬ 
ward along the sides for quite a distance, where they become dis¬ 
eased from disuse. In the above action the hands should be pressed 
very firmly against the ribs, while an ingoing breath is used to force 
them out. Let the pressure of the hands compel the breath to do 
greater work in forcing out the sides. This will soon open and 
vitalize the best part of the lungs. On count two let the hands 
force the breath out by a very hard effort, and, on each repetition, 
the hands should press in still more. The object is to make the 
chest frame very flexible and to increase the range of respiration. 




























Figure 37. 

CHEST EXERCISE. FIRST SET. 

One_ two _one_ two one 


“jjr-a " rnq z| :i, i 

.—^ 


X si | L ! j 

r i i 1 

fr\\ - vi . L m ! 

r ii 1 

Vm/ *4- ^ • 1 c> m rJ j 1 

f r ^ i 

StjKS 

m f ii 1 , I 

-—» - .. » —- — i ■ 

* FF 

* ^ r 

fm)' £i . 1 

1 1 

i n 



1 "d n 

W 7 /I • ZTZ * i • 


(O • 1 

zip *“^1 '** \ -1 | 

- 1 

t_=1 -=1 □ 


=t -* 

■ct- • 


two 


/jM * F 

-1 

r - 1 - 

- ^ . 

—1 

F3—— : -- 

1 

_ 

f- Tf- F 

* r 

i 

——A - 

— 0- - p— 

I x I 

1 

-H 

r 

—i . 

t t—P- - 

* f - f- s 
r ! . s 

-g»- 

1 

f J 

1 

- H - 

[m % " ^ 

-Z<-- - 

- 1 - 

. ;:^1. 

-*r\ 



—■m - 

=t : 

-* L 

S~ — 

L 

j 1 

L i 

(S' • 


-J— J 


A " ^ 






/ 



. 

i J L 



/ #?K .— 



J 


1 


i \srr ^ z 

: 

• L^=J i 

1 J 1 

j J=* 0 9- 

\ ^ X 

-m- S- v 

-r ^ x 

1 

L 


'J-J. 8 

1 ST* 

i| 


i 4- 



i ^ 

• 


I— i - 

L 

4 

i 

\ VS 7 




—i 1— 





1 


’ J ^ 




L • 

*W• 

:=t 

■sit • 

,-9~ -- 


i i 

z| 



■■ p;,. | ■ 

4 — 1 

\ 


-d— 



J J 


■p* ip*" 

I 1 


f - s * tip * 

. .I 

cJ - 

s F f 

r X -jp- -p- 

1 /ST* 


i '-! 




1 lrJ> 


I u. I 

L *A • 

J 

-L i j 

\ KZ? TZ 


1 U«rJ 


^ 







- * 

.1 i! 


t- .ggt 

:. • =± 


n i i 

l ' r j 

— i-i--1-1—|- 


. ^ • 

_i _i— 

1 7T 7Z3 ^ T .— _ _L L C-^ J 

J CS T' r 

—^ • 



► « 

1 \CTT _ _ I 



► urn. m 

r *' f f 

s r r * t T s r r 

! i 

' r X 

L 

r r 

j 

( as-, p 


F-si- 

—i 

-■ ■ ifZm 

\ -F- 

~L t—j 

-SH-- 


\ *ra u r r l u j . 

-H- —j- -^4- * 90- . 

=st 3 

""" ■ "^s O 

—y-1- 

/ -ar- —- —i “ , 

i 

j -L 

L 

^ L9 

/ ft -^a “1 — z _ i_ — ^ ^ i.i 

i ^rr » ^2 




—|-u 

\ t) v 

-m- ^ 

r r * 

- -0~ SM -0~ -0~ ^ 

ff ff ' 

**ar y “S 7 -*— * 

•ft 5 FFi 

0- 

f 


l rrr. ^ 


■ — 

r h 

1—j —J—L 

^ ^ II 



" - -1- 

1 


CG HTt 

^ ii 



* 

• 1 J L^z 

J • L. 

-i-»jLL 

J li 


- a 

=t ■ =t : s 

r- 


• 

















































































































































































128 


RALSTON CULTURE 



Figure 38 Enlarged.— Explanation: This movement may be 
performed to almost any air. On count one the unbent arm should 
strike the chest frame, and on count two the arm should move out¬ 
ward to a lateral line on a height with the shoulder. If the accent 
of the music is such as to render the reverse action more effective, 
then let the arm be raised in front of the chest for preparation only 
and brought out to its lateral position on count one, and against 
the chest on count two. The whole value of the exercise is in the 
stiff arm and a resisting chest. It is better to fill the lungs with 
a good, vigorous inhalation and hold the breath for eight counts, 
unless this makes you dizzy. It is quite easy for a strong-chested 
person to maintain a fully extended chest frame even if empty of 
air, and this is as good as a held breath, as far as strengthening the 
lungs and chest is concerned. 



















Figure 38. 


SECOND SET. 


CHEST EXERCISE. 

One two one two 






wBSMn pnnnBB^ rjxxbbmi 

/ —H- : i— 4 

2 — &-'dj =**=4 n 

{W-^-S-'-S S t i* ^ 

>i 5 £ L-S s tl 

/ 

—H .-..nl 4 1 H 

\^fe ^ 3 ^ E ^ ^5 ^ i 

•- Zjfl Zjjt ZgL ? Zjf. - 0 - -■#- 

k=r- a ^ “ 



























































































































































130 


RALSTON CULTURE 



Figure 39 Enlarged.— Explanation: This is a particularly 
important movement, and is designed to strengthen the upper side 
muscles of the chest. We call it the wing exercise in class. There 
are many interesting variations which may be considered. On count 
one raise the right elbow; on count two lower it and continue for 
eight; on count nine raise the left elbow; on ten lower it; and con¬ 
tinue for eight; on count seventeen raise the right elbow; on eighteen 
raise the left and lower the right; on nineteen raise the right and 
lower the left and continue for eight; on twenty-five raise both, then 
lower them on the next count, and so finish. Occasionally perform 
the full exercise with the lungs filled with air and the breath held, 
always stopping as soon as you become dizzy. 


























CHEST EXERCISE. 

Animato. 


Figure 39 


THIRD SET. 






















































































































































132 


RALSTON CULTURE 



Fig. 158. Chest Exercise. 


Figure 40 Enlarged. — Explanation: This excellent movement 
is known by onr classes as the Perpendicular Drill, and is one of 
the most effective ever invented. Nothing like it was ever known 
until it was used by the Ralston System, for which it was specially 
prepared. It is as different from the calisthenic movement, which 
it seems to resemble, as day is from night. This action requires that 
the hand be clinched, energized and kept under the arm. On count 
one the fist is to be brought up so as to strike the under part of the 
arm at the arm-pit, not in front but under. This is very difficult. 
On count two throw the fist downward in a straight line:; continue 
for eight. On nine raise the left fist under the left arm, striking 
hard; then lower it on ten and continue; on seventeen raise the right 
fist; on eighteen raise the left and lower the right; on tzventy-four 
raise both, and continue to thirty-two . 























CHEST EXERCISE. 


Figure 40 


FOURTH SET., 


One two one two 







































































































































134 


RALSTON CULTURE 


Fig. 159. Chest Exercise. 



Figure 41 Enlarged.— Explanation: Here is another of those 
immensely valuable exercises that are capable of overcoming dis¬ 
ease in the most unexpected manner. The seat of life is in the 
chest. The present movement is the very best of all for increasing 
the vitality of the lungs, and that means the vigor of the whole 
body. The music should be specially adapted to the action, as it is 
of a double nature. On count one place the left hand on the chest, 
and strike the back of that hand with the palm of the right on 
count two. Tapping the chest was always a valuable means of in¬ 
creasing its vitality, but most pupils strike too hard. This enables 
one to accomplish the desired end, but the blow cannot be too hard 
when dealt first to the back of the hand. The under hand may be 
made to travel over the entire chest surface; then go back again, 
using the right as the under hand. 













Figure 41 


CHEST EXERCISE. FIFTH SET. 

One two three four five six 
























































































































































136 


RALSTON CULTURE 



Figure 42 Enlarged. — Explanation: This is an interesting 
and beautiful exercise as well as one that is of decided value in seek¬ 
ing health or strength. To commence it, take the usual standing 
position and raise the clinched fists to the upper chest. On count 
one describe a semicircle with the fists by causing them to descend 
and depart outwardly from the body as they are raised to a new 
position on a level with the shoulders. All this constitutes count 
one • On count two allow the fists to again traverse the path of the 
semicircle and be brought up to their first position on the upper 
front chest. Count three will be the repetition of count one, and so 
continue until thirty-two is reached. It is a series of swinging 
movements. They strengthen the muscles of the chest and give 
vigor to the lungs. 




































CHEST EXERCISE. 


Figure 42. 


SIXTH SET. 


.. , one two ^ 

One two ^ 

fff Ilf? ?::i 


& s 

zrr. —1 to- to 

2 % 

rs- f— i- f- 

f S _ 

w w 

Jte=i=£—p—“— 

£ t- fz-1 

-t4-: 


i 








£S= 




Mi 


t t 

=F=F= 


& 

F 


£ 


,# 8 S:SsS%8 ^ 

—1 

75l ^ 


~^=rf^m-P • P-T33 

1® •= ^s=f t^S J 



--SofcEjt*^* «*jp i^. • s^J 

) ^ -S- 

I —F-1-—.-F- 


% t 

* Y 

*•- 

1 

1 

: ==£=± 



—- 


,-4 rf < * 

| 

^ 


-1— -4— JJ T— M- l- 


/ r+\ _ ® • • _L_J5L ! «»_ 

L J L L r • to 

l-, r ^ 

\ VT7 - 1 L_ t — 

\\f i * 

) £ f i S- . 4 < 


l£=* t 

:«-1=L. t *. : 












































































































































138 


RALSTON CULTURE 



Fig. 161. Shoulder Exercise. 


Figure 43 Enlarged.— Explanation: We now commence the 
shoulder series. It has a special importance in that each exercise 
draws new life to the upper regions of the chest; nutrition is 
brought to the hollows that are almost always found just inside the 
line of the shoulders near the chest, and flesh is added. All the 
shoulder exercises reach the diverging lines of muscles that spread 
over these hollows; and there is no other way of filling them up. 
They overcome not only the deep valleys but are quite sure to 
remedy the prevailing deformity of the times—flat chests. In 
Figure 145 the right shoulder is raised on count one and lowered 
on count two , continuing to thirty-two. Then the left shoulder is 
likewise employed, and both alternately, then together. 






















Figure 43 


FIRST SET. 


SHOULDER EXERCISE. 

One two one two 



-T - 

- “1 —W 

-j — —p -1 —! -1 —i 

p- 

im-%- 

- 

* f f 

X 

— i 

r 

- - £ S &£ 

r r r 

=t : j- ' 

* 

S: 

I 

b ? 

i i 

■ =]■ . 

- 

4M—-—- 

=1 

—i -i 

* 































































































































































140 


RALSTON CULTURE 



Fig. 162. Shoulder Exercise. 


Figure 44 Enlarged. — Explanation: While the exercise of 
Figure 145 is essential to the full development of the present move¬ 
ment, and should he thoroughly mastered in advance, this is by 
far the more important because of its value in drawing nutrition 
to the chest, filling the hollows, adding flesh and overcoming the 
defect known as flat chest. Stout persons often have hollows near 
the shoulders, which are indications of weak lungs. All women 
wish a perfect form at the neck and upper chest, as well as in the 
arms, and the present exercise, added to the others of this series, 
will produce these beneficial results. On count one raise the shoul¬ 
der very high; on count two thrust it forward; on count three lower 
it heavily; on count four thrust it back; on count five raise it; on 
count six thrust it back; and so continue to thirty-two; then use 
the other shoulder likewise. 

















V 


Figure 44 


SHOULDER EXERCISE. SECOND SET. 
















































































































































































































































142 


RALSTON CULTURE 



Figure 45 Enlarged.— Explanation: Now comes a very hard 
movement. It must be remembered that each exercise in the Ral¬ 
ston System has some definite purpose; not merely the general end 
of producing the best of health; but a specific design with relation 
to the development of a certain set of muscles. The action of 
Figure 45 is the best known for reaching the muscles of the hack 
behind and at the shoulders. To commence it let the arms hang at 
the sides at full length. On count one raise the arms in such a 
way as to produce right angles at the elbows, the hands being ele¬ 
vated; on count two lower the forearms only, still preserving the 
right-angled shape. This is done by turning the forearms over, 
using the muscles at the shoulders for the change. The severity 
of the exercise is surprising, hut it soon makes a person thick-set 
and solid at the shoulders and upper hack. 




















THIRD SET. 


SHOULDER EXERCISE. 

One two 


Figure 45. 

three four 


gii 


p==pE=rzpE— pe=pe: 




p 


f 


m 


11 




£=% 




t=t 


*=t 


t=t 


t=t 


••-1 

2 : - 

* 


jFE-f- 

: g r 

pFt 

fq# 


\ e> 

F-F 

W- 

-r - 

r~ 

i 

LFr-- F 

H=^=H 

N 5 -1 

=M±= 

P -F J 

(e—«r 

t 


4 4 

£ 

=r r 

fF*" 


—£-= 

l 1 — l * 1 — l 

—i—i— 

1 . t 

4 * 

—h—*—: 


$ 




F f § 

fe* 


g 








-p—P- 


g 


if 

fag- 

— : li- 


u» i 






I I 


4 






« 


iM 


i 


:p=.-p: 


P=P=FP==^==P: 

L-1-hr-1 m -h— 




F=f=* 


/ 




i i 

£ * 




i i 

:£ «: 


E 


* I 


=F=t 


i 




-ft*- 


PFf 


^ #- 

SEE 




"I-1 


«: 4: 

p— p—*—F 

i f if 

-#- -i*- 

p— r r 

H=? H 

J 

W—F=a-: 

= p 1= F 

J U 1— 

-h—L— 1 - 


V 1 — J 


-(= 2 - 

#*- £= t 




: sFF 




£ 

SL-*- 


lx I i I I 


# 


fas- 


g 


: mr 


m 


s 

5 




iHi 


IzfeEii 


s* 


I 











































































































































































144 


RALSTON CULTURE 


Fig. 164. Shoulder Exercise. 



Figure 46 Enlarged. — Explanation: The tasks grow harder 
as we proceed. The above exercise will eat up any surplus fat at 
the shoulders and upper parts of the torso; yet will add flesh where 
that is lacking. You know that fat is not flesh; it is not the result 
of nutrition but of stagnation, and should be thrown off when over- 
accumulated. On the other hand, flesh is the result of nutrition, 
and is really nutrition in itself. Thus the same exercise may re¬ 
duce the weight of one person by eliminating the fat, and may in¬ 
crease the weight of another by adding flesh. In the above move¬ 
ment raise the hands over the head as high as possible, with the fists 
clinched. On count one bring them down in a wide, sweeping semi¬ 
circle, striking the sides of the hips; on count two return them to 
the high altitude, striking the fists together over the top of the 
head. 



















FOURTH SET. 


Figure 46. 

SHOULDER EXERCISE. 

One two one two one two one two 


/ y r J 

-- -- 1 . 

w • — wf^ w i 


- 


j fj "esm 

J 

-&-w - 

\ t i f 

^ 3 

£ 

1 Z»V I # 1 !# 


~i-V “1- 


i rr i i ^ r~ r~ — r~ — r- _ 

\ -1- M -i- 

—1- -1 

—1-c= ^-p 

-a! —1 

p m i 

H —i 




-|— ^ — |—— '- |^g |—q— 




^=Ep3=St 




mi 


f 






% 

=*= 


liEEE 


i^EEzLfcE£ 


i 


=r 




£=4 


ra 


£ 


3: 


:®t 


H©- 


* 


• • • 




































































































































































146 


RALSTON CULTURE 



Figure 47 Enlarged.— Explanation: This action is called 
plucking grapes. They are situated rather high, and can he 
reached only by a long stretch of the arm, body and feet. This 
complicated movement requires music that is specially adapted to 
the details of the action. On count one rise as high as possible on 
the tips of the toes and raise the right hand as though to take a 
bunch of grapes. The music will furnish an opportunity for mak¬ 
ing a special effort as though to leap. This requires a stretching 
of the arm; the shoulder muscles are taxed to the utmost without 
strain, and the contiguous muscles are likewise called into action 
over the front and hack of the upper torso. Allow the main effort 
of reaching to be made with the arm so that, it will involve the 
shoulder as much as possible. The left shoulder should be like¬ 
wise employed, then both alternately. 



Figure 47. 

SHOULDER EXERCISE. FIFTH SET. 




































































































































































































































148 


RALSTON CULTURE 



Figure 48 Enlarged.— Explanation: Here we have the hard¬ 
est of all the exercises in this series. It is not so wearying as that 
wherein the arms were moved while held in the shape of right 
angles, bnt it is more effective. Few pupils seem to understand 
this action at first. We must imagine a table behind the body and 
a wall m front of it. The right hand is uplifted so as to rest with 
its palm against the wall, as though to push it. The left hand is 
supposed to he placed upon a table trying to push hard down upon 
it. Here are two pushing movements that must be made on the 
same accent of the music, while the weight of the body is equally 
sustained on both feet as though to secure the strongest attitude 
possible. All this complication occurs on count one; on two the 
whole body is relaxed and takes the military position; on three the 
right hand pushes out and the left hand down; and so on to eight. 
After that reverse. 




















Figure 48 


SIXTH SET, 


SHOULDER EXERCISE. 

One two 


one two 




















































































































































































150 


RALSTON CULTURE 



Figure 49 Enlarged.— Explanation: This opens a new series, 
passing from the shoulder to the arm. We commenced at the lower 
extremities and have come up by degrees to the ankles, knees, hips, 
waist, chest and shoulders; and we pass out from the last named 
to the arms. Of course it is very difficult to find any exercises that 
apply to the arm exclusively; it is a law of nature that one set of 
muscles seeks its leverage on another. In the movement above 
illustrated in Figure 151, the arm should he extended laterally on 
a height with the shoulder, the fist being clinched and palm-side 
down. On count one turn the arm over so that the fist will have 
its palm side up. On count three turn it down; and so continue for 
thirty-two counts with one hand, and the same number with the 
other. The best results are obtained by holding the arm very tense 
and solid all the while. 


































Figure 49 


AEM EXERCISE. FIRST SET. 

One two one two one two 

































































































































































































































152 


RALSTON CULTURE 



Fig. 168. Arm Exercise. 


Figure 50 Enlarged. — Explanation: While this movement 
does not weary the arm muscles so quickly as that of Figure 151, 
it brings into use the various parts instead of dealing with that 
member as one piece of anatomy. In commencing it the elbows 
may he very slightly raised above a horizontal position, and one 
arm may he employed. On count one lower the elbow a few inches; 
on count two lower the wrist, which really results in extending the 
arm; on three lower the hand, and on four go back to the raised 
position. Then do the same as to the other arm; and, finally, em¬ 
ploy both arms together. Now, as the practice proceeds, the pupil 
must be taught to raise the elbows a little higher each time, until 
they point to the ceiling. This allows more vigor of movement. 
The action should he given with precision at each part, and much 
energy used. y , 










SECOND SET. 


Figure 50. 


ARM EXERCISE. SECOND 

One two three four five six seven eight 

r\ ^ _N is” ^• £» 

• SET. 

0 - 


mr- v - mr -op -an- 

1 i i i i DR* 

j -f-r— 


yr v 9 ^ q sLn- 

L-, 


W «-i P »i 

im. L L. 1 L H L U J 

1 W 1 1 H 1 ^ 

r*- —i 

1 1 1 

\<LZ P P 1 P P m 


c? p——a— nr a 

fj 1 «i U 1 1 1 i ” ” -- 

% 9 m , -9- 

/iy a* » p 


^ ~w , — 


- P — mf 

", i w i P 

l l r \ 

i ^ i 

k~dp i P 

L 1 L 

i 1 L 

^ pi j r-- 

i ^ r ^ 





F= 3rr" 




: 


-+-=r-¥~ 


= 1 — m- 




t^a 


I 





















































































































































































154 


RALSTON CULTURE 



Figure 51 Enlarged. — Explanation: This is the third of the 
arm movements. It is much more taxing than the other two that 
precede it in this series, although not as quick to weary the muscles. 
It can he done with the open hands at first, hut the clinched fists 
give the arms greater vigor. It is of the utmost importance that 
the muscles he firmly tensed all the while. On count one swing 
the stiff arms from a lateral to a front position; hut each arm must 
stop suddenly in front of the shoulder, and should not touch the 
other arm. When the sudden stop is made, it should he solid so as 
to keep the fists as far apart as the shoulders are. It is this power 
of checking a quick, strong movement that gives strength to the 
muscles. On count two move the stiff arms to a lateral position 
and stop as suddenly. Continue for thirty-two counts. 





















Figure 51 


THIRD SET. 








































































































































































156 


RALSTON CULTURE 



Figure 52 Enlarged.— Explanation: This is decidedly a mag¬ 
netic movement, and is the best for invigorating the upper chest 
that has ever been invented. For the reason that it should be 
taught in person by a teacher it is rarely made clear by a printed 
description. There are two counts in the action; one raises the 
arms high over the head; two lowers them in a straight line down 
past the shoulders, the hands almost touching the latter as they 
pass; but the music should develop the broken character of each 
count. As the arms are raised on count one, the hands should be 
devitalized or madei passive; as they descend they should gradually 
change to the list-shape, then the fists should he clinched, then 
tensed to the utmost, all on count two. If you inhale deeply and 
hold the lungs full of air, you will realize how quickly you may ac¬ 
cumulate magnetism in the body. 

























ARM EXERCISE. 


Figure 52 


FOURTH SET. 


































































































































































158 


RALSTON CULTURE 



Figure 53 Enlarged. — Explanation: In this movement the 
tax on the arm muscles becomes greater than in any other of the 
series thus far given. It can he commenced either way, just as the 
teacher catches the accent, or as the musician develops it. One 
way is to raise the arms laterally as the attitude of preparation; 
and bring them down stiff against the sides by an outward swing 
on count one; see that the hands describe arcs of circles, otherwise 
the whole value of the exercise is lost. On count two raise them 
to the attitude of preparation. The other way is to begin with the 
hands at the sides and to raise them on count one and lower them 
on count two. This depends largely upon the way the music is 
played. The time should be quite slow until the action is learned, 
then it may be made faster; but this is to be done gradually. Do 
not allow the muscles to become limp while the exercise is being 
performed. 































ARM EXERCISE. 


Figure 53 


FIFTH SET. 





H 


ft : 




~-W - 4f~ 


& 







—is—I-1— 

J j ' J- 


fMS 


3E5 


i—i—r- 














































































































































160 


RALSTON CULTURE 



Figure 54 Enlarged.— Explanation: The use of a spiral 
movement is the strongest means of developing the arms, provided 
all the preceding exercises in this series have been well mastered. 
Very few arms are over fat; those that are limp and flabby are lack¬ 
ing in beauty and will sooner or later show age by wrinkles or in 
other ways. A spiral action is a unique invention designed to give 
the muscles a twist while the arm is passing through a complica¬ 
tion of evolutions. There are several lighter spiral exercises, but 
the one presented herein is the best and heaviest known. On count 
one cause the tightly clinched fists to descend in front of the body; 
on count two carry them out and around, up, over, down to the 
chest, and there describe a small but perfect circle. This is a good 
deal of work for count two, but it is done quickly. Count three is 
the same as one. The pupil will so enjoy the exercise as to get tired 
and not know it. Hence the benefit. 





























Figure 54 


SIXTH SET, 


ARM EXERCISE. 

One two 


one two 






it: -A- :t= 
































































































































































































162 


RALSTON CULTURE 



Figure 55 Enlarged. — Explanation: The hand is a small part 
of the machinery of the body, but it is the most active, useful, and 
important. It has five digits, each having three sections, articula¬ 
tions or joints. The toiler uses many of these in one action, un¬ 
less he is skilled in fine work. Nature intends them to he sepa¬ 
rately employed in order that the highest grace and usefulness may 
be attained. To keep the hand flexible the muscles should all be 
exercised equally a few minutes each day. The present exercise 
requires that the fingers and thumb be opened on count one, and 
closed on count two; but to do this well the arm should be extended 
so that the muscular effort may be freely devoted to the hand. It 
is important that the fingers should be spread widely apart, as the 
hand is fully open on count one; and that the fist should be tightly 
clinched on count two. Continue until tired. 






























Figure 55. 


HAND EXERCISE. 

One two 


FIRST SET. 


m 

( ff 


e$p 




■P -♦ 


t=t= 






• • 


ri 


jL*. 


-P —»—A 


£ f= £ 


t= 




1 . iq «-f , *: ,* t-fii-p*-'*-'^* 


I 


1 






1 1 

J 



LL^.-i- 


:^=—=*: 




i t 


t=t=t 


r=t==fe 


M 


g 


i 


j 


=t 


*- • *- > - r 


fcfcir 


—-«-1 

=fe=ig 


# 


« ft »-'* r* £"—*■ * 


] , * , • [-, * • • 

j— ff . I. P —L . -g - £ l:- i r 


5 1 

























































































































































































































164 


RALSTON CULTURE 



Figure 56 Enlarged.— Explanation: This action, like that 
of Figure 157, employs all the muscles of the hands, and in a very 
thorough manner. The fingers should be interlaced as in the illus¬ 
tration. On count one open the palms so that the two hands will 
form one straight line; on count two shut the palms hard together. 
If this is done directly in front of the lower line of the chest, it 
will be very easy to perform a great number of times without weari¬ 
ness; but if the arms are extended as far forward as possible, the 
hand muscles are slightly more taxed. We suggest eight counts 
in the first-mentioned position; eight counts in the forward posi¬ 
tion; eight more with the hands as low down as possible; and eight 
above the head. The muscles must not be relaxed; they are to be 
firmly tensed all through the movements. 












HAND EXERCISE. 


Figure 56 


SECOND SET. 


^ d--: 

—i -K -1 

zj —« *1 * ' 

fz| *- - 1 

i— | -N—1 -- 1 - 1 

■ d g • • —d g • 3 

rnf 

lJ ' I 

*tt i: -J 

* . «• 8 : 8 : 3 


c S £- 

L sq — a-f 

r » * 

: *-P 3-f 

-r*..: 9 |» r j* i] 

^-8=£!y=d3 

pa h >- 

W J 

-W- •Jr *** u* 




A —i -* J 

■ "1 "* * t~d m f * 

r -1 r -i -* A 

- 1 -,-1-1—-j— - 

H— 

r- 

% : -g . i 3 g g 

mf 

— 7 j__- 1 - M - 1 - 1 - 

—%~. -&-- - —0 --#— ■*— - 

EEg;i_^Zd 


i f -i-f F m » if 

"if iff if i f~ 

* * 

-i f if i 

\^|S 

1 =l tZ h p[ => => i= 

£gg- ^ ^ 

-+ t= ^ t= F PE -* t= * t 

f * » :-1 

L u^ ^ J 



























































































































































































































166 


RALSTON CULTURE 



Figure 57 Enlarged. — Explanation: The movements in the 
hand series now grow more severe and more important. Figure 159 
combines the arm muscles largely with those of the hand, hut only 
to aid the latter by a new use, one that is rarely met with in exer¬ 
cise. The fingers should he hooked together; and, through all the 
practice, the elbows must seek to break the hold of the fingers by 
a strong and continued outward pulling. It is a good exercise for 
the arm, hut a far better one for the hands. Mak,e the pulling as 
strong as you can. On count one bring the hands to the chest; on 
count two extend them forward as much as the length of the arms 
will allow. You will then see the peculiar power of the exercise. 
Do not forget to keep up the constant lateral effort of the elbows 
to pull the hands apart. Go to all parts of the chest on the odd 
numbered counts. 


















Figure 57. 


THIRD SET. 


HAND EXERCISE. 


One two one two 
































































































































































168 


RALSTON CULT URL] 



Figube 58 Enxabged. — Explanation: A comparative glance 
should be given to the hand exercises that thus far have been in¬ 
troduced in this series. The first consisted of opening and shutting 
the hand; the second taxed the muscles under the obstacle of the 
interlaced fingers; the third tested the pulling powers of the hand 
muscles; and now the fourth is designed to test the pressing powers. 
Place the palms together and hold them against each°other as 
firmly as you can, as though glued by your effort. On count one 
carry to the right shoulder; on count two , out in front; on count 
three, to the left shoulder; on four , out in front; and so on for 
thirty-two counts, all the while keeping the hands firmly against 
each other as though one were seeking to push the other out of 
place. They may then be carried to the right and left lower lines 
of the chest in turn. 












HAND EXERCISE. 


Figure 58 


FOURTH SET 


One two 


one two 



-£ 2 - 

-t== 

-ts>- 

-I- 







if 




1 


























































































































































170 


RALSTON CULTURE 



Figure 59 Enlarged.— Explanation: Kaise the left hand, not 
above the shoulder, but out from it on a high elevation. Lower the 
right hand so as to form two obliques* an upper and lower one. 
Each arm must reverse its position; the left arm coming down to 
the lower left side; but extended out; and the right arm coming 
up to the upper right altitude. Each hand describes a semicircle, 
or the larger part of one. The purpose is to cause the hands, palms 
and fingers also, to strike each other as they pass. This differs ma¬ 
terially from a direct blow of two hands coming against each other. 
Here there can be no severe blow, as the action is such as to prevent 
it. The strongest effort will only result in the surfaces skimming 
past each other. 

















HAND EXERCISE. 


Figure 59 


FIFTH SEJT. 



























































































































































































































172 


RALSTON CULTURE 



Figure 60 Enlarged.— Explanation: When the hands are 
cold the quickest way to warm them is to perform the movements 
of Figure 162. It is, however, not possible to obtain warmth either 
in the hands or feet unless there is a sufficient supply of nutritious 
food in the system. To eat a light breakfast is sure to leave the 
blood weak for the whole day. The furnace needs its fuel in ad¬ 
vance of use, not when it is getting ready to rest. Music is of the 
highest importance in developing the vim and spirit of an exercise. 
On count one strike the hands in front of the body; on count two , 
at the back, or behind the body; keeping the arms straight and 
stiff, so as to throw the energy into the hands. At first the move¬ 
ment should be as slight as can be conveniently made; then permit 
it to be enlarged, and add force to the blow at the same time. 


Figure 60. 

HAND EXERCISE. 


SIXTH SET. 



/ jjL* s - ^ d ^ 

L w a —— 

t=J => ^ 


< 

£—*-£^3 

t~* « 

*-• :it £ 3 

(Pt*—i—«£— 

r —i * 

- H n 

—i—— 

p—=£—F3—«— : 


L | 

33 t 

N f -F* M 


lY^-w^jrr^F 

Tr 

•.-.A. 

f-3-pS- 

E=e«S^ 

-^-* r- 

*!• £ 

I 

i frY 1 r « 

1 


i. IP ^ w 

r *b tf>: 

r 1 1 

1 fez L bJ Lag* 

t 


mt -w 


1 -JEL 

1 

\ fJ 

} ^ 

4P " 

*- : «■ 

| 

l 1 

.fp 


1 z^y. l, w 

r 


r » 


A 



1 1 

I ^7T7 m \ 

# 


* r 

1 1 



v —■* 

1 I 

\ vpp- p p 

li 


1 




h 1 - 

1 

\ ^ t= ^ 

-M— 

_ 

Lh- 

-1- 

L 


L 

1 


- ~yr r y ~^rS - m ^ 

•— m~\ 

i : ^ 

-]•* - —”| 


P- p a 


rT\^ « ' w r 

_T Jr. l _ irL L J ^ 1 

*• VtJ S • m 1 

tyz «l- "x m • tz tz 



L -v_^T - 

“ j 

# 

* ^ » 


u y ^ _n l- m » ^r_ ___ 

nrzrz — s . 

L K « 

§L 


« r _1 



Cx "W 

k r 

L h 

- P 

-p 

- p - □ 












































































































































































































174 


RALSTON CULTURE 



Figure 61 Enlarged. — Explanation: We come now to the 
neck series; and, small as the movements may seem, they are of the 
most vital importance both in point of health and voice. They 
reach far beyond the location of the neck, carrying their beneficial 
action to the inner portions of the lungs and especially along the 
bronchial passages, as the shoulders extend their influence of action 
to' the back and front muscles of the torso. The neck movements 
alone are capable of building strength of voice owing to the new 
flesh and vigor of muscular formation which they invite. The 
same exercises reach the weak trachea and bronchial tubes, and 
supply nutrition of structure where the best of medical aid is sure 
to fail. In this, the first, the chin is thrown forward until it rests 
upon the chest, for count one; and the head is thrown far backward 
for count two. 







Figure 61 


NECK EXERCISE. 

One two 


two 


FIRST SET. 


-Jf-\TTT—Ti - 

—tOH- 

—si- 

rz 

- 

- r • fc- = 

if—— 


S* - 

L 

—<si- 

- 1 - 

1 fe 

t b" - 

tt 2 

ff ' 

Sg- 


-sJ- 

—P-2- 

1 

w 

r s . 




=t== 


=t== 


-0T- 

—i- 

St $z 4: 

*4: 

4 < 

-1-—i- 




£=2 • 

-fii®— h?;-£— 

- 1 —-- 1 - 

-1- 

r - w. 

—i—i— 

^2 

-f- 

—1 

- 1 - 

tr - 

P r 

-f 

| - 1-1— 

r F n k ■ 


|-1 

-1- 

K 

-j-□ 

_*£-_, 

*l 


-1 1- 

9 - L 

=i t Es E 

■=) 

—1-L^— 

—U-— 

=3 t 3 

~<P” 








































































































































































176 


RALSTON CULTURE 


I 



Figure 62 Enlarged.— Explanation: The movement in Fig¬ 
ure 163 requires a forward and backward action of the head. In 
this it is a lateral action. It makes no difference whether the first 
count is to the right or to the left; yet the teacher must see that 
the same direction is taken by the whole class together. There is 
a feeling of discord and embarrassment when the right and left 
actions are seen on the same count; as where some pupils incline 
the head to the right while others incline it to the left. The muscles 
of the neck must be tensed in all the movements of this series, for 
a weak or flabby action is of no value. It wastes energy and does 
not draw a new supply. All tensing or energizing is sure to bring 
nutrition to the parts used, if a good meal has been eaten prior to 
the practice.' 
























Figure 62. 


NECK EXERCISE. SECOND SET. 

One two one two 






































































































































































































178 


RALSTON CULTURE 



Figure 63 Enlarged.— Explanation: This is a combination of 
Figures 163 and 164, with the double advantage of a circular ten¬ 
dency of all the neck muscles. This tendency receives its support 
clear down inside the lungs, as any careful observer will at once per¬ 
ceive. We do not advise using the movement of Figure 165 until the 
full practice of Figures 163 and 164 has enabled you to obtain un¬ 
usual flexibility of the neck muscles by large ranges. On count one 
incline the head to the right; on count two pass the head to a back¬ 
ward position, a movement not possible in the preceding figures; 
on count three pass the head to the left shoulder; and on count four 
pass the chin to the upper chest; on five reverse by passing the head 
to the left shoulder; and so proceed back to the starting point. 
The exercise is like its predecessors in position only, not in move¬ 
ments. 

























Figure 63. 


NECK EXERCISE. 

Oue two 

three 

four 

THIRD SET. 

l W4 F * 

-t---t- 

:=Fd m 

-!- 

—r > v- 

- ,j ■ q- - q 

--=v-- 

-' .P : 


-Ed— \= 

- P P 

X I 1 

zjL * B ^ 

1 

—<S>-1- 

i //tv 

r—<-4- 


r - 

-1 ^ P "1 


—|—£—f£= 

hsL t—1= 

- *—£—£— 
bit t t 

ti i» p. 

t-1= 

Pi m 


/# -1— ri 

FtL E=1 

k 


—f— 

_ 1 

-=rf“1tF—f— 

l ^ 

i- 

cq L_ 

— <s>-1- 

£2 • r_a 

- 0 —#—*— 0 -— 

\p 1 


- U 


1 

f— 

: * t=-t 




X 1 1 1 

—== 

mf 



cres. 

(p- 

— i—ap-r=F=3—»—£■- 

? ? 

! 

-F- 

-r~- 

£ 

-p- -m- 

-1 ^£ £ ' 


-p--r~- r tr* t=-4=:--V"“ 

—1-i- 

—J- 

- Tijp. - 

b 

r 

t- 

“HH^ 1 


8 va, 


_ / 

a 0 

5= 3= -£ -p- 

, H 


- r-ff—- r- 

p P 



H q q: 

/ / 


•1 


L n* L 


-F 1 1 

/ ^ 

hr p ^ P 

1 ^ t - 1 

1 ^ i 

P ^ m 

— - - 

a. 44La 

■, xtrr r- -- _ /___ r . _: •" . _rL fj+f 

r 

- m m f . » -*- ^ 4 s * *: * P 

f 

A« J*#W 


n w 

___ m- _ 

__ wl _ m 

p 

7s "tw r r 


I 

P P 

qj *P:pi 

SJ \ 1 

tr ^ m 

V v 

i -t q 

1 1 1 

P 

p . 

P 

-M 


-—« t—t 

L-p - 1 - 1 - 


-j- 

JL L 

' 1 1 

r 1 ^ 


/ -y--p“r—r 

- 

- r -)- 

| 

:=z| q q : 

; b ' ■ q. z 


« tt 

J 


j pc. 

/ crv ^ r— 

fzA r 

<zJ • 

P- a y 

r 

1 w ^ . t 


m m 

p p 

3 L 


XIII 

p -j . '! 

F- -#- 

1 PiA Vm Via 


.1 v ir 

trr.—^— 

m -— w - 

1 1 

9 “j- P v - 

\ \ ^ f_ 1 ___J_L_ ^_I I _4_ — _-j L_ ( ■■ . --K_L-_ 1 

\ \~ J L . _L_ L . 2 \ J_ _ Ll' 

r 

f 1 

1 c 


'fz £ 

1 1 _ 1 _ 1 


tr "T-- 1 

tr* p 


- P p p 

/ Jr - ! w 

~1 eP p. 

p ^ ^ r l 


1 f?r\ si • 

P L J 

^ L L 


1 vcrr ^ r~ r ^ ^ l ^ _ l. l let 

\ tj 

1 ”* 

1 - VA ^ ^ ^ ^ 

S ‘ ' / 

p- -p- -p- -p- -p- i^p- -^p- i^p- p- 

1 - i 

A 

—] wr m 

v. — — 1 m _ n 

1 fP75 1 

m ■ m 

m m. 

C ^ - h i— 4— -4 

i— q -1 

\ V^7 H 

K-^- 

ml- r 

m ^ 1 1 

-t. L I 

\ -1- 

r * 

L L 

L « « 1 

v-#- 

£ 

-1-- 

^ ^ 1 

h»tt» ■»' 

q. Pa 

-«s>F 


J 1 

/3£ ^ v Fa 

F--- 

4—i—i—i— 1—1 - 

1^ ^ 



• « S»~H 

I ^kr--!-^-F 



H x- P. - 


^ X H 

l ItB—— -- k 





II 

/ 1 

P- -P- -P- -P- 

v —a —- m- m -— 

S S X X 

-- 1 --r-»--la--la-- 

1 1 


-— 

t -p P |P 

-F - F - F— - 

F - F-F- 

(- 1 - 1 - 

±==1 a| : 

j y I 

\ Vci P- 



U 4— 1— 


p — F 1 


- b-x, t. .it 

•r 

r 

■ * -i L 

-+-U 





















































































































































































































180 


RALSTON CULTURE 



Figure 64 Enlarged.— Explanation: This is a movement of 
far greater value than all three preceding in this series combined. 
It is, however, somewhat difficult to understand; for most pupils 
fail to see the difference between inclining the head to the side and 
turning it to the side. It never occurred to them that the head 
may be turned and yet not inclined at all, or inclined and not 
turned at all. One action gives a direct pull to the opposite mus¬ 
cles while those on the side of the inclination are relaxed after use; 
and the turn acts upon every muscle alike. Turn the head lightly, 
on count one, to the right; on count two , to the left; then, as the 
muscles are able to endure it, increase the range of the turn until a 
strong blow may be struck to the right and to the left. This is the 
best of exercises for strengthening the weak blood-vessels of the 
brain. 
































Figure 64. 

NECK EXERCISE. FOURTH SET. 




J= 




•- 

tt= 


1- 


4 


—I—i 


--h 


hi= 




= =4 


atzfc 


= 1 = 


4 


H-h 


cres. 


+~4 


irq-rbn 


-I- 


I— 

r=* 


* 


i- 




f: 

g 



-F=l==3= 

i i—^^- 


* *' 


-m- 

-i- 


y i 


s »I 

►--r-F* 


4 


4 


-n—* 


s 


L # .—h 


1 




n 


u 


'± 


=p£= 


t~ 






4 


7--P 


H—- 


errs. 


1“ 




4 




4=£- 


r- 


< 9 * 


4 


•*—te*- 


3t=^: 


rp=r=4=t=3=t=tp=t4=! 


4-4- 


g 



4 

































































































































































































































































182 


RALSTON CULTURE 



Figure 65 Enlarged.— Explanation: Here the work increases 
in difficulty. We do not believe this is any better than the one 
preceding—that is, Figure 166—but it fits in with all others and 
serves to reach muscles that cannot be so well exercised in any 
other way. The whole value of this movement is in the carriage of 
the head to a far backward attitude and a rolling of its weight from 
one side to the other. Incline the head so far back that you can see 
the wall of the room behind; on count one roll the head to the 
right shoulder blade; on count two roll it to the left shoulder blade; 
and so continue until thirty-two counts are made. If the attitude 
produces dizziness, it is an indication of weakness in the circulation 
of the blood, and it is well to stop until all unpleasant feelings have 
passed. The head movements will overcome the weakness in time. 












Figure 65 


NECK EXERCISE. FIFTH SET. 




=q ■ r 

- 1 -i- j -i- 

=1—1 ; 

W . Ez .... T' .i=r ' h " 

■m. 

- -H - -H - P- — I 0 —I 

L -*—* r r r-t— 1 

1 1*— 9 —J 

0 r- — 

-- 

1 -—-: 





































































































































184 


RALSTON CULTURE 



Figure 66 Enlarged.-— Explanation: This is the craning exer¬ 
cise. It is not by any means a beautiful one, being quite the reverse 
of that; but its efficiency is so great that it cannot properly be 
omitted from any system of scientific physical culture. The nearest 
in value to it for hygienic uses are the movements of Figures 166 
and 167. Here the muscles are pulled from a much lower depth, 
and nutritive supply is invited more rapidly into the parts affected. 
On count one thrust the chin forward in a level line; do not turn the 
head, and do not raise or lower the chin. On count two draw the 
chin in as close to the neck as possible. There are nine directions 
in which the craning may be made; on a level line, to the front, 
the right oblique and the left oblique, making three; on a lowered 
line in the same ways; and likewise on an upper line. Of course a 
raising of the chin is necessary in the last named; and a dropping of 
the chin is necessary in the lowered line; but the craning action is 
not to raise or lower the chin. 









Figure 66 


SIXTH SET. 


HECK EXERCISE, 

One two one 

ztztzfz •: J 

,-n. 2 2 ^ £ 1 +r 1 

SIXTH SET. 

two 

; £: £:£::£:£: 


P*. 

r w 


a k k k kff 


t—r 

r t~ 

r r ^ 

: S| pi £E. r ^L- : 

(S -— 

i £ 

1 _ 1 

1 i 

-pt- 

\ 1 

m- 

: U»_J= t t : 

i £ £ 

1 /aIV* tt « f— 

^ £ 


i P 

~ m * r 1 

\ | ^ I h 





\ 52i_tZ ZJ 

! ■ i ■■■ 



- i — h - |— n 

— 3 - 

j— 1 — 

- r~ 

: j _ t L 71 


f) 



!a ' 

£= 

« 


£ 

£ r r- -T 

7thi- 

*£- 

1* 

k 

si k 

fck • ak—k-*- 

Pr- 

:=r t t= L—4 

W- 

r 


t= ■ 

-Hz’ 

=t= t- 

✓ 

:zt k p=± £ zd 

1 1 k 



; 

£ 




-m~ -o-- 

i ~*P r ~*w 

©K 

—•■— 

dr 

t— 

—f— ■ 

vt 

, 

ne p _=j 

i— *“ * 

- C- 

-1- 

zJ u . u * . = 











































































































































186 


RALSTON CULTURE 



Figure 67 Enlarged.— Explanation: These movements are all 
very hard and very taxing. In a course of hygienic cure the whole 
body movements should be omitted. When they can he performed 
without producing excessive weariness, they will indicate a fairly 
good state of the health. All the movements of this series are capa¬ 
ble of being reduced to a very slight range. In the present exercise 
raise the right arm over the head on count one, at the same time 
lowering the body and reaching toward the floor with the left hand. 
This is an easy action when done lightly and in a few inches range; 
but the full movement requires that the hand shall almost touch 
the floor. On count two throw the left hand over the head and 
attempt to touch the floor with the right hand. All the muscles 
of the body are involved. 














two 


Figure 67 


FIRST SET. 


WHOLE BODY. 

One 


one 


two 











































































































































































































188 


RALSTON CULTURE 



Figure 68 Enlarged.— Explanation: This action is so com¬ 
plicated and variable that it may be performed in a number of ways 
and each be right. In the first place, it does not make any difference 
on which foot it begins; either the left or the right may be retired. 
The two hands may be clasped over the right shoulder for count 
one, or over the left, or may separately rest on both shoulders. The 
oblique movement from the right shoulder to the left knee is a 
slight advantage, as it brings into better use the many muscles of 
the body. On count two advance the retired foot to a forward posi¬ 
tion, at the same time bringing the hands from the shoulders to the 
knee. On count three take the position of preparation the same as 
would constitute count one . After eight counts reverse the attitude 
of the feet. 




















WHOLE BODY EXERCISE. 

One two 


Figure 68. 


SECOND SET. 


one 


two 


/to r= 

-p- 

- ft 

+?' -p- 

F-t t 

-PL. 

"~t— |- 


-P- -*-• -P- 

-P= (r ta : 

sH- 

(p-w*-=t 

-f- 

* s 

F—- 

-m-- -+- 

t t 

-i * * 

—H P P 

: (— 

r 4fc 

1 :f: £: 

s s « q 

4 # 

-1- 1 - 

. b~.- r 


:=^=l=(= 

^ r-d 

- H 1- 1 - H 

-J t — J 


/#? ^ 

-F- & . -0- 

—i - P—-—i - 

—1—j - 

L4P- -1— 

Fs P:3jt:^g*-F*—r: tt 

-t— -I— 

=*= b q 

r c 


r - ■amvBaEQtaan - 1— * 

:-d 


—I -f- tr 

~ m * r 


ff 1 

i- 1— 

- 4 t t= 

: « t=t= r*“ 1 — 1 — 

5 "«= j 

;£ -F- 

/ —A—w-—i-4— 

^ fz 

.1 - 1 -«-(- 

t t ’-£: h*- • -P- -P 

-P- 


-1 -p- 


^ ^ ~£h- 




2p=p=p: 


it 


& 




1 




✓ I I 


2 p- 

«: :£ 

“t= tz — 1= — i= 

- ^ 

P- *- * -P- 

=t F- 

i ^ 

[v ^ 

's 1 

L_. 1 

-"tt 

wit 

T s rd f 

L. .... 

y p- 

-» — »- — 

i qt qft 

S S : 

■—F—F— 

=^. t t=.» JELL. 

Lj t t 

- H t — 1 ‘ 

i t t : 





—1-P—i—1- 

-fr* ! P 

e- WpFSt 

—P -h=' f=-, 

pit t=| 

r p J 

PF"3 *=» 

—i yy 

—j —p-p— 

1— S3— 

—. f * 

-—p—p- 

F~--1 

-P- -P- 

F p- tt r-'SF- 


^-F-F 

: =1—r- .t=... 

- « t— i— 

t-1-1= 

dtF=F 


i=1 


± £l 40- 


It t :& 


E-MM'll 


BE 






Es .* * 




turn 


-»■—p- 


f 




















































































































































190 


RALSTON CULTURE 



Figure 69 Enlarged.— Explanation: While this is a much 
more elaborate movement, and seemingly more taxing than the 
others that precede in this series, it is an exercise that ladies and 
gentlemen of sedentary habits find easy to perform. Its results 
are quite beneficial, more so than those derivable from Figures 169 
and 170, although those should by all means precede this and lead 
the way to it. The reason why the body is not made lame so easily 
is because of the bending at the hips, where the large and powerful 
muscles take the action very readily. A partial bending would not 
constitute a whole body movement. It is necessary that the torso 
become fully involved, even to the neck and shoulders. On count 
one let the arms be raised above the head, the hands being elevated 
and palms together; on count two let them come down to the floor 
by a long, curving sweep. Commence with the feet apart. To ren¬ 
der the exercise more difficult, let the hands be carried farther to 
the back on their elevation, and farther to the back on their being 
lowered. 













Figure 69 



eight 






& 




* * S 


5#=i 


* * 


1*- 

-m- -m- 




t—li 


e=c 


at#: 


?=:=^=zl=3= 


=e£ 


1—J 






±=t 


« 


It—t 


Efo*- .ft 


i 


i 


fcl 


:Jt=^=zi 






-*—M 




: £=P= 


:^== 




M 


i-h~ 


-* n ‘ s s 

F-1-1-Fai— i —i— 


S-S , * - 




































































































































































































































RALSTON CULTURE 


Derails of Fi g*. 63 . 



Ralsfor) Physical Culture 
































































































MUSIC AND EXERCISES 


193 


The variations of the whole body movements are con¬ 
fined to explanations of the details of the figures that are not easy 
to understand otherwise. Figure 188 shows the position of count 
one with the hands above the head and the hands clasped. The 
feet should he placed apart as widely as is convenient for the 
strength of the muscles in the legs; the larger the lateral stride the 
better will be the tax on the whole body. On count two the hands, 
still clasped, are brought downward in a large, full forward swing, 
and made to pass the feet to a position further back. On count 
three the hands are carried upward to the high position, and then 
down again on count four. It is an excellent exercise to place a 
handkerchief about eighteen inches behind the body on the floor, 
then pick it up with the fingers on count eight. The real value of 
the movement is in the large semicircles which are described by 
the hands, and in the wide positions of the feet. 

The same principles are involved in Figures 190 and 
191, but the strides are in oblique lines and the action adapts itself 
to them. Stand with the weight on the right foot retired obliquely 
backward; on count one raise the hands high over the head and also 
obliquely back; on count two carry them forward and down in a 
large semicircle, parting them so as to pass each side of the left 
foot; on count three raise the hands again to the position of one, as 
in Figure 190; and so continue for eight counts. In making the 
eighth action allow both feet to come together in the military posi¬ 
tion, heels touching and toes turned out; then, on count nine, step 
obliquely backward as in Figure 192, raising the hands high over 
the head and back to make a straight incline. On count ten bring 
the hands over and down to the right foot. Repeat to end of count 
sixteen, then go back to the first movements as under Figures 190 
and 191 for eight more counts, and finish at thirty-two with the 
final eight, repeating Figures 192 and 193. Let the whole body 
take full part in each detail of this action from the head to the 
feet. Bend at the waist and chest as well as at the hips, so that the 
body may be made very supple and strong at the same time. Few 
exercises excel this in value for the purposes of health. It must be 
remembered that this series includes the whole body movements, 
the chief purpose of which is to tax the entire strength rather than 
part of the body at a time; although this is done in its turn with 
others, and is not continuous. If it were, it would weary without 
affording the means of reaction that is so valuable. 


194 


RALSTON CULTURE 



Fig. 194. Whole Body Exercise. 


Figure 70 Enlarged.— Explanation: This is named the 
“Gypsy Camp.” It teaches the easiest way of taking a sitting pos¬ 
ture on the floor or ground from a standing position, and it employs 
every muscle of the body in complicated action without departure 
from the laws of grace. Count one throws the weight entirely on 
the left leg, so as to leave the right one free to move, and at the 
same time the left leg supports the body by its bending attitude, 
until the weight can safely be placed on the right knee on the floor 
without jar or blow. This is followed by count two , in which the 
right hand is- placed on the floor and helps to sustain the weight. 
On count three, sit. On four , cross the knees and clasp the hands 
over one knee. This process of sitting is the best and most grace¬ 
ful, and may he done quickly by allowing the movements to blend 
together. Count live is the same as three; count six is the same as 
two; count seven places the whole weight on the left foot; count 
eight is the standing attitude. Reverse sides. 

















Figure 70 


FOURTH SET. 


WHOLE BODY EXERCISE. 


One two 


























































































































































































































196 


RALSTON CULTURE 



Derails of Fig. 70. 









Ralsfor). Physical Cvilfure. 



















































































MUSIC AND EXERCISES 


197 


This is a peculiar and unusual whole body movement, 
combining the laws of grace, of poise and of strength in the most 
difficult of exercises for such combination. Figure 194, which is 
Figure 70 enlarged, shows the result of the first half of the exercise', 
and coincides with that seen in Figure 198. The start should be 
made in a standing position, with the hands at the sides, hanging 
free. On count one, come down on the right knee. In so doing it 
is essential to keep the entire weight upon the left side of the body 
and over the left foot; for the least shifting of the gravity to the 
right will throw one out of poise, and precipitate a fall on the 
right knee, with danger of injuring the knee-pan. As soon, how¬ 
ever, as the right knee rests upon the floor, all the weight of the 
body should be easily and gracefully transferred to it. Then we 
are ready for count two. This consists in so inclining the body to 
the right that its weight is evenly divided between the right knee 
and the hand which is resting on the floor, palm down. On count 
three the hip, which has been poised between the hand and the 
knee, now swings around and rests on the floor, and in so doing it 
takes the support of all the weight. This is a sitting posture. On 
count four sit erect, and clasp the hands around the left knee. 
This is called the Gypsy Best, or camp position, in. physical 
culture. 

To arise from the posture, the reverse movements are in 
the same relative counts. Thus on count five, which is the first in 
reverse order, the position of three is assumed by resting the hand 
on the floor; count six is like two, in which the weight is divided 
between the right knee and the hand; count seven is like one, the 
entire weight being placed upon the right foot; but on making 
count eight the weight is transferred to the left foot in the act of 
coming to an erect position. Mahy persons attempt to rise with 
the weight upon both feet, but this is always ungainly. After 
completing the eight counts it is well to reverse sides, coming down 
on the left knee on count nine, and so continue to the end of six¬ 
teen. Then go back to the other side for eight more and to the left 
again for the final eight. Perfect poise must be maintained at 
every stage of the exercise. This is attainable only by an ever pres¬ 
ent consciousness of the center of gravity, which is carried in the 
torso, or main body, and generally in the lower chest. This center 
of gravity should always be poised over the ball of the foot which is 
to sustain the weight of the whole body. 


/ 


198 


RALSTON CULTURE 



Figure 71 Enlarged.— Explanation: On count one let the 
body down upon the right knee in a lateral direction; not forward 
or backward. On count two place the right hand on the floor so as 
to support the weight of the torso at least on that arm; on count 
three rise to the kneeling position; on four , stand on the feet; on 
live, kneel laterally on the left knee; and repeat as before. Reverse 
at every four counts. When the weight of the torso is supported 
by the hand resting on the floor, the arm on the other side of the 
body should be elevated as high as possible. Every act of kneel¬ 
ing should be graceful and in perfect poise; but this is rarely seen. 
There is always a free foot in every action or movement that in¬ 
volves stepping, walking or kneeling, and no weight should be per¬ 
mitted on the free foot until it is ready to receive it. Herein is the 
secret of ease and grace. 


































Figure 71 


FIFTH SET. 


WHOLE BODY EXERCISE. 

One two three four five six 



=1 =n 

F=3=f= 

1 1 * 0 * 1 

—J—h—I — iM~H~ 

-P3 -, 

P 

fmYrt -N - — 

-®- ft*- -1*- 

» v w hr- 

-=§* -s 

r** * 

-f 2 -t-S—5 

i r < *: f 

^3^# - 

f* n 


F" 

M=-i=-1= 

: 0 . - # 

: P P 

tz | z 

-H 


seven 

n -rr_stl_ 


eight 

. 

1 

_ 

I 

!—i 

1 | 
i *L J- 

J j 

~tr # ^ 


=1 

-- 

W ■ 

1 

: i 

#4. « 

1 

—m — 

- 1 - 

Pf —3 

-tm 

tp2-^ ^ 

fj* r 

r - 

i 

— i— 

?2 

ss- 

— i - 

-!*- 

t=“| 

—5— 

- 0 - 

pt* 

J* ** 7 

-l*~ -PL 

* ► 

—m — 

s 

—1- 

- -0 - 9 — 

* t 

- 1 - 1 - 

l I 

—^- 

- 1 

-J J 

—£-*- 1 

- 

i_ 

tz 

1 

P 


—1- - 

- taJ - 

p= t 3 















• * 


ss 


sU ^ ^ 


--LJ: 




-P2- 


=^t—t-t—F=-r»- 




















































































































































200 


RALSTON CULTURE 



RalsfOQ Physical Culture 








































































MUSIC AND EXERCISES 


201 


This is declared by many teachers to be the most in¬ 
teresting of the whole body exercises. It combines speed with an 
unusual degree of activity considering the range employed. On 
count one kneel on the left knee, coming down from the standing 
attitude of Figure 207 to the kneeling attitude of Figure 204. The 
entire weight should be supported on the right foot from the time 
the body commences its descent to the time it reaches the floor. 
This is poise, and no large change of attitude can be made without 
its perfection. In other words, the whole weight should rest on the 
one foot at every stage of the change, and not pass to the other 
until the change is complete. This culmination of kneeling in 
Figure 204 results in the ability to easily transfer the support to 
the knee in the act of coming to a rest. 

The next change shifts the poise to the left hand and 
knee, in a lateral direction. At the same time the right arm is 
raised high above the shoulder as in Figure 205, and the right leg 
is straightened out to complete the balance in the opposite lateral 
from that of the left hand. The latter is aiding to support the 
weight of the torso on its own side. All the changes and adjust¬ 
ments occur on count two. On three the whole body is again poised 
as in Figure 204, the weight being on the left knee. On count four 
the weight is quickly "thrown to the right foot and kept over it 
while the body is brought to a standing position as in Figure 207. 
From this position it is very easy to shift the weight to either foot 
and to use either side in kneeling. 

Having counted one for kneeling on the left knee; two 
for the earth and sky action, three for the repetition of the kneeling 
on the left foot, and four for the full standing attitude; the reverse 
action should occur. On count five kneel on the right knee; on six 
take the earth and sky position as seen in Figure 209; on seven 
kneel again on the right knee; and on eight come up to the full 
standing position of Figure 211. This completes the action on both 
sides of the body. The counts should end with thirty-two. It must 
always be remembered that large range movements like these are 
very exhausting, and that frequent rests should follow, but not 
enough to admit of catching cold. A single muscle or a limited set 
of muscles may be wearied without affecting the general vitality; 
but this is not true of whole body action. 


202 


RALSTON CULTURE 



Figure 72 Enlarged.— Explanation: This is called the Turk¬ 
ish Salute. It is the acme of difficulty as a whole body exercise, 
and few persons do it well. It may be commenced from the mili¬ 
tary position as well as from a fixed attitude if a person is quick 
and flexible in the muscles. In such case the following details must 
all be performed as count one: Extend both hands at the sides and 
commence to move them backward in such a way that, when back, 
the palms will face toward the floor; place the right knee behind 
the left knee, so as to brace the support by the close position of the 
legs; bend the torso and neck as in bowing. On count two the torso 
should descend fully eight or ten inches at the shoulders; on three, 
as much more; and on four the back should be level. The next 
four counts will serve to bring the body gradually up to an erect 
attitude. The difficulty of the exercise is in the lack of a strong 
bracing of the legs. The right knee should be held hard against 
the left at the back of the latter. After the eight counts, let the 
action be reversed by placing the left knee behind the right, and 
so on. 















Figure 72 


SIXTH SET. 


WHOLE BODY EXERCISE. 



8 va. 



- 

H=-^= 

J -J—, 

■3 3 

-— f—- 

^5 -- -—b-J— 

-« 

—*— =w»— 

_^ 

Uft < • l 

^ 

fr V 

m¥~ — 

E 

* 

— +■ -f- 

£: £ 

- t= £. - J= 

^9- -—j-Ljiiiiin ^-1 

L - — . 



8 va. 






















































































































































204 


RALSTON CULTURE 



RaisfOQ Physical Culture 



































































MUSIC AND EXERCISES 


205 


The details of the Turkish salute are hard to explain 
without a living teacher or explicit illustrations. The best prepara¬ 
tion is made by extending the hands forward to some imaginary 
person as though it were done to indicate welcome, at the same 
time standing with the weight upon the feet placed in the military 
position. This may all be done on count one. On count two pass 
the left foot around behind the right so that the knees will touch, 
but with the left knee behind the right, lowering the hands half 
way down to the sides as in Figure 214. On count three bring the 
hands to the sides, as low down as possible, while bracing the body 
firmly at the knees. The weight may be supported on both feet at 
this stage, or on the retired foot only. On count four the torso 
should be lowered until the back is parallel with the ceiling, and 
the hands extended to the rear, with the palms facing the floor. 
It will be noticed that the hands were facing upward in the posi¬ 
tion of count one, and that they have gradually turned down and 
reversed as they have passed backward. Thus in Figure 213 the 
palms face the ceiling, in Figure 214 they face partly down, in Fig¬ 
ure 215 they begin to face the floor, and so on to the reverse posi¬ 
tion in Figure 216. This understanding of the hand change will 
enable the pupil to adjust the whole body to the attitude required. 

At first it is not possible to lower the head and shoulders 
to the fully depressed position as seen in Figure 216. The chief 
obstacle will be the left leg, which must be thrown to a straightened 
attitude by withdrawing the middle of the body, thus releasing it. 
The support of the general weight will always be unsteady and even 
uncertain, as long as the knees do not brace themselves tightly 
against each other. Little by little the nature of the exercise will 
be fully understood and its rendition will be graceful and beautiful. 
Our illustrations are designed merely to show the crude outlines; 
but to see a class or even an individual pupil perform the action is 
to realize its real beauty. On count five the body is raised but 
partly, as in Figure 217; on count six it is raised a little more; on 
seven it is almost up, corresponding to Figures 219 and 214; and 
on count eight a full standing position is assumed. All these have 
taken a right lateral direction. On the next eight counts reverse 
the foot action and face to the left. Continue as usual. The smooth¬ 
ness of this exercise has much to do with giving it an effective 
beauty; and it is very easy to defeat this important end by a lack 
of perfect poise. 


206 


RALSTON CULTURE 



Figure 73 Enlarged. — Explanation: Any rapid movement 
of a muscle sets the blood throbbing quickly through the veins, 
and the nerves respond by a feeling of life. A quick step, a rapid 
lifting of the arm, or anything that involves speed, is of the highest 
value in waking up a sluggish body. Sometimes a headache that 
is due to a clogging of the system or a stagnation of the blood in 
the veins of the head, is instantly cured by a quick motion of some 
part of the body. In the present movement the right hand must 
be made to pass rapidly around the left, the latter being held still. 
After eight counts, reverse by keeping the right hand still and caus¬ 
ing the left to pass around it. If the speed is good, there will be 
two or more revolutions on each count. Reverse by changing the 
direction, also by causing both hands to revolve about each other. 
















Figure 73. 


RAPID EXERCISE. FIRST SET. 




A L p. jp. 


1 ! I~ L J . .aWl- S” - 


r a r 


I 1 

r p' 

/ Ttt* 




mi 

iTTr 

L 1 



✓ i 

1 xA) __ _ 





1 _! -**- -**- %- j_ iJ* 

*- J*~ . -f % 

4V u • 

i* i r 

j 

m r \ 

VTT'iV 

I I II 


r . 




L n 

> ^ t 

1 1 

- — i- J 












































































































































208 


RALSTON CULTURE 



Figure 74 Enlarged.— Explanation: Raise the arms fully to 
the front, the hands being placed against each other. On counts 
one to seven gradually open the arms by separating the hands more 
and more until the arms are each back of the lateral position; then, 
on count eight , bring the hands together as speedily as possible. 
The distance traversed by the hands on seven counts is now re¬ 
traversed in one only. Yet that one should not be delayed in the 
slightest degree. It is better to try to make the return in less time 
than was employed in the seven steps of the opening action. The 
movement is pleasurable and is always fully enjoyed. It may be 
done slowly at first by having the music retarded, and speed may 
be added by playing the air in quicker time. 
































Figure 74 




, -t rSr .—t- 



--- 

j®—:-ar~ 


—*—i—i—i—i—t-i 

(if*-- .— 

“t= 

—W— 

L? 


-#■-»■-1-F~ 

1—fH- b? 



\ VSiZ 


1 

-SijatZ ^ 

1 

—— —*fT-1 

) TT 

) / :<*- ■*- 
f jypjt p j® 

1 


J*- 

- , ■•hr ■•tar 

~ •—g 

r# ... 

mb 3-t E= 

=t=t=t 

L -®- 


- r*~ i 

3—t—t- 

-r n= 

Li-1-1- 

^ * * 1 


,-^r^- 

—l “> 

,n • 

—!—i— 

i j_i - 

/ /T ft . , 

igsas^ j ! 

r 

1 .J H* 

fr% <£t9 £B 

< fd\ * 

! J • 4 



W I 

1 -2 ^ ' _ -H- W ; -rr - _ 


— - =* 

1 /V\ — ®«* r 


. j 0** 

_, .. mr_ r s s _ 

i irv»re.. »■ t~ - _ i ^ __ 

\ ^7 n r - - 

- 1 I— 1— 

w i 

i r— ^ 


.id 


z=M tt_ t= t= 



> > 


J J 

AJJi *L 


F-^ • 



J ' ; 

I TL® • r - 

7f- ft -1 ^ 

H- 



J |L G tf 

_l—--“I 1 HI 1 

l -kw |_ I_ u^.- 

rnr * “1—! & • p— 

i — 


-1 

; •iW . 

bat-rd ... • 

^TZ P*' 





r ® ^ 


7^Tw+ "ST fiT 

K~' 


' —j r 1 

r _p i 

trr-S,,. ~i • •— 


-—i—^ 

i 

•ar — P 

L 

—\ Pi— 

-• i — 

—» 

p- ; |— t 

— L 1 

“* M ... 

r ~ ~ T~ 

: n P 

9 J 
































































































































































































































210 


RALSTON CULTURE 



Figure 75 Enlarged.— Explanation: Experience in teaching 
this exercise indicates that the action should not he given at first 
in double form, or with two movements to one count, as is sug¬ 
gested in Figure 75. On count one throw the arms out to the sides, 
the hands being on a line with the hips. On count two throw 
them about the lower chest, crossing them in so doing. When 
this has been done for thirty-two counts, the double movement may 
he tried. On count one throw the arms out and then in and about 
the chest; on count two throw them out and in likewise; and so on 
for sixteen counts. This requires much speed, and is very exhil¬ 
arating and invigorating if the breath be held part of the time. 
There is additional advantage in maintaining a fully extended 
chest during the whole exercise. 




















Figure 75 


RAPID EXERCISE. 

One 


THIRD SET. 


two 


one 


two 





I 












?tt=z=±=S 


**£ s r 

?_* :: : .j*> -I-S - g—jgr=^=it- c 
























































































































































































212 


RALSTON CULTURE 



Figure 76 Enlarged.— Explanation: There is a demand for 
a very rapid movement, in which the speed may exceed that of 
Figure 175. The music does not permit of counts or accents. 
Each pupil should seek to reach a higher rate of speed than the 
others. It will be noticed that there is a natural direction of turn¬ 
ing the hand for rapidity of revolutions. Thus it is easier to turn 
to the right than to the left, yet both should be tried with one 
hand, then with the other. A gauge of speed may be set by describ¬ 
ing a very small circle with the tip of the index finger, say an inch 
in diameter, making the revolutions very speedy; then attempting 
to increase the diameter to a foot or more without decreasing the 
speed. This is very taxing, yet it is most beneficial. 
























Figure 76 


RAPID EXERCISE. FOURTH SET. 


spr, 

=1—r- 

--•-J-J-J-W—«U- 

r-n f* ^ ,P 

— - 1 - F^-Fi— 

— -- 1—l—i—l— 

r-fW-H 4F 

:dS=U VJ- 


w- 

- 1—1—1—i— 

• m O ^ 

^1--Ft— *+— 1—1— 

-Ft—— r-i-i— i— 

-#ut=i!—— 

-1— 1— Lifted 

-W' - U-U— 

& m w m 

\ 

—!—m - 1—*\— 

_A|_|_|_ai_|_|_ 

-m - 1—1—1 [-- 1 

-Ft—hj—F+-hd— 




■pi 1 «r l 1 l 

— 

^- 




















































































































































































































































214 


RALSTON CULTURE 



Fra. 225. Rapid Exercise. 


Figure 77 Enlarged. — Explanation: On count one strike 
backward with the right elbow, and on count two strike backward 
with the left elbow; repeat for thirty-two counts. Unless the high¬ 
est speed is reached, the exercise will be merely a shoulder move¬ 
ment. The addition of rapidity changes its nature and its value. 
For systematic practice the following is preferable: On counts one 
to eight use the right arm only; on counts nine to sixteen use the 
left arm; on counts seventeen to twenty-four use both alternately; 
and on counts twenty-five to thirty-two use both arms together. 
The time may be doubled by increase in the time of the music, or 
by rendering two movements to one accent. All the while the 
muscles should be firmly tensed. 































Figure 77. 


RAPID EXERCISE. 


FIFTH SET. 



/ -jQ— ' 5 - m —g —£ — k£—IT - 13 — 

. *-? s 

& . 

-M 

3 

& S=M=-f g=t * « 
\- 3 7 -ts — ■— r 'u*- 

u 1 


F * *=>1 

\ 


/ 



-*- fiL 1—f. 

» SS * 

^tr-S S a 


b -‘ 

k-u- — 

- 1 - 1 — u =| 

L »- — 1 - 0 -i- 1 

***■*• U— 


(1 


^-ss- 

4—4 -f5? 

- J j 

^ ! 

M 

r* °**» n 

tL-£ j -a 

1 ft 

hr.) 73 J 

. Tl 

Jt A 1 A 

g 1 




\) . 9 2 • 9 \ 

L 3 M. 

V V V 

V j ] 


r -J ~ i 

\ t, 

*> -.*- -*~ #- 



A _ (®_ & 

i (t 

> +t i® m p 

1 

rw m .mm 



an <m mm 3 

7~* # n ! T 

« ! A 

H 




r- n- r~- r^- 

—- 


:F~ 

! r~ 

:L^-™P-4 









































































































































































































































216 


RALSTON CULTURE 



Figure 78 Enlarged. — Explanation: This is the most enjoy¬ 
able of the speed exercises, and becomes still more interesting by 
allowing the musician to increase the time of the music. It is an 
apparent attempt to take a big jump, with no prospect of realizing 
the expectation. On count one the fists are brought down from 
their raised position over the head to the lower attitude behind the 
knees. The latter are to be kept bent or in a flexible condition 
ready to spring. On count two raise the hands to the head just 
above the forehead, and lean back a few inches with the impulse of 
the music. Soon the knees, hips, torso and general body will be in 
a rocking mood, while the arms are passing rapidly from one ele¬ 
vation to the other, making constant preparations for imaginary 
jumps. 





















Figure 78. 


RAPID EXERCISE. SIXTH SET. 


i-B*- 

-I® =N =K 

-4 -* J ^ 

f -h —is q 


—i- 1 - 1 - 1 - 1 — 

Lh - f —• -F- 0 — 

r* 2 f 2 

— r ft- br hr 

=* — i *—tz= 

— i £■ » s 

—h- 5 - 1 -hr— 

:=|r * ** J 

=! L, i i 

\E 5 tJ =8 H 

— P- i— & 

— F-F- 1 -F— 

-~~^4 &2 ® 

N -* £ M 


- £2 — W- - 1 - 

| ^ 


-#¥ 

=4 » -JSfei - 

F s~l s 

~ J “is 1 J ~s- s : 

Sp 

* _£=^p=r^ + 

tp» 1 — 

L{-^-J-F^d 

0 p 0 0 0 

-F- 

if 

. s s s 

BBT br bap 

» 5 S 2 

—i- m -hr-hr— 

r » s s -r -, 

r i — hr hr hr 

\ £§_#;— 

-F-F-F- 

v br ! -b - 

:Je_tz_t_br 

Fhr tz t= tz : 


i I 



/^Pjf 1 

--1- 

~y J— F 

_ 

-F-|- 

— ^F=4 

f f 3 

fP=* 

-j !—0 -U-— 

-F-IF— 

F -F- 

£=£ £ 

—pi— 

1 - 

r H 

—i— 

F <* 

t - 

F [— * 

—1 -f— 

* £ # 3 

J g S 

jggr '^r -fer ! 

\E?r 3 
—-1— 

—F-1-F-— 

—£2— 

- 

:=} - 

*— e 

-1— 

-k-U 

- V U —& : 



- 

3—3—n 

/ i?i\-1-1-j-1-F-1-F-F F— 

I gz - 1 - ^-f — - F - 

b '0 * - 

; i h 

L*?=e ! f ir f 5 5 i 

f , -1 f 

# • k || 

\ M—L—P—P—p—h|»-P—P—P-— 

i i 

h - 







































































































































218 


RALSTON CULTURE 



Fig. 227. Light Step. 


Figure 79 Enlarged.— Explanation: The eight steps now 
claim our attention. They are very interesting, and they have a 
twofold purpose. They serve to strengthen the muscles of the 
heart by reason of the special tax placed upon that organ, hut per¬ 
sons who are subject to maladies of the heart should proceed slowly. 
What is a cure may be made a cause if taken too violently. The 
light steps also give lightness to the movements and carriage of the 
body. There are all sorts of ways of performing the movement of 
Figure 181 , and several pages of description are devoted to it in 
another part of this volume. Here the swinging of the free foot 
is made to lift the body from the floor a short distance on each 
measure of a waltz. 






























Figure 79 


FIRST SET. 


LIGHT STEF EXERCISE. 


One two three one two three 



:=j- -j m . -T- 

- j-J 

“ z z; : 

/ A K.tJ r ] 


! 1 1 1 1 ! 

—1 m ”1 

... i 

1 f/T\V_. A 1 J 

• r 

2 : 2 "d 

—d r- d 

~~ L_ — 

M # -j m . 

l VJ/ 4 d 9 

» 

- w 


W ^ W Jd ^ 

\ d 

P 

; i 

" -vj 3 - ^ -1- ^ ^ 

r . 4 *: e 1 v »: 

I /"—A« O 

r- r 


1 

m i 

1 1 1 

1 (£/•, ti n» 



1 1— 1— 

- ^ |-1- 


\ w4r /i * 

r! I 

L 

0 1 •“ 

1 j-1- 

. a) ^ h 1 

\ - ±t .i l . ____ ~ . n 


-£■ “I - f- ■ 

- —l : 

i ZLsa-:-3 -1. 

r—pap* —, 

A U ! i0 1 

w -; 

m 

J i 1 ■ 

1 T 1 S i 

0 

! J III 

FTP* m i f- 

i -1 

.- 


.j 

0 

ddrl -J 

xAl ! 

T~ r- 

—• 0 J 

^ if . . 



^ :! 

f 

v m 

€ n » 0 

—1 

_^ 

S £ , 4 

/W\« ^ ” r 


i 

^ W #L iC 

£ 


^ t — ■ i 





0 -v. 

1 

i 

U !~ (— f- 


1 1 

1 0 H 

r 


d 1 

^ 1/ — — 1 - 

Jk 


4=£ tzz: 

-t 

1 



=£= 





£ 






== 1 = 




.'I..., ; I 



SS 
































































































































































































220 


RALSTON CULTURE 



Derails of Fig.73 




^. 23 ! 



g.£33. 


Ralsforp Physical Culture 
































































































MUSIC AND EXERCISES 


221 



Ralsfor) Physical Culture 

































222 


RALSTON CULTURE 


Details of FigJ9 Continued 






Fi g . 




Raisfcr) Physical Culture 






MUSIC AND EXERCISES 


223 


The light steps are designed to teach the quick and 
complete lifting of the body from the floor, in movements that 
are easy and graceful and with the least tax upon the general 
vitality. If taken in their proper place, after considerable strength 
has been acquired, they are of the greatest value in building up 
strength for a weak heart. We present three pages of illustrative 
explanations in Figures 228 to 245. The military position should 
be assumed in the start; on measure one move the foot in front, 
and back to the military position. Thus, Figures 229 and 228 show 
one full count. The second count moves the foot to the oblique 
front and back as in Figures 230 and 228. The third count moves 
the foot to the lateral and back; the fourth , to the oblique retired 
and back; and the fifth , to the direct retired, as in Figure 233, and 
returned to Figure 228. Then the other foot is used likewise. 
Thus far there has been no lifting of the body. Now repeat each 
action and use the feet alternately; thus, on count one advance and 
retire the right foot; on count two, advance and retire the left 
foot; on three , the right to oblique front; and so on. 

The next variation requires a slight hop on the foot 
each time as it is moved; and this hop takes the place of the with¬ 
drawal. These hops should be very slight, as they at once attack 
the whole vitality, strengthening it wonderfully if taken lightly, 
and proving dangerous to a very weak heart if made violent. They 
are no more taxing than any dance step may be made. In Figure 
234 the right foot is advanced and the hop is made on the left; in 
Figure 235 the left is advanced and the hop is made on the right; 
although in all these movements the hop may be omitted. In Fig¬ 
ure 236 the right leg crosses the left in front and the hop is made 
on the left foot; in Figure 237 the left crosses the right, both Fig¬ 
ures 236 and 237 being oblique crossings. In Figures 238 and 239 
the direction is to the lateral. In Figures 240 to 245 the steps are 
called “Exchange,” as one foot is thrust forward while the other 
is moved back. In Figure 240 the light steps show the starting 
attitude taken on count one, the dark steps being those intended 
to be taken on count two. In Figure 241 the light steps show the 
new position just taken, and the dark those to be taken on count 
three. In Figure 242 the light steps show the position taker, and 
the dark that to be assumed on count four; and so on. It will be 
noticed in Figures 242, 243, 244 and 245 that the changes go grad¬ 
ually to lateral steps, becoming graceful as well as interesting. 


224 


RALSTON CULTURE 



Figure 80 Enlarged.— Explanation: Some persons prefer 
the light step of this figure to that of Figure 181; but the latter is by 
far the more beautiful, while this is more taxing on the vitality of 
the body. It seems somewhat like Figure 181, but is quite the oppo¬ 
site. The weight is lifted on the left foot by an easy jump while 
the right foot is thrown out in the right lateral direction. This 
occurs on the accented note of a waltz measure. On the second 
measure the weight is lifted on the right foot while the left is 
thrown out laterally. When the exercise has been performed a few 
times it will be possible to throw both feet in the same direction, 
the left, that carries the weight on count one, going under the body 
to the right as the right is thrown out laterally, and the reverse 
being true on count two. 





























Figure 80 


LIGHT STEP EXERCISE. SECOND SET. 


One 

F 

two ^ 

three 

four 

five 

& -, 

i-1—1- 

IgEa-^-- 

-jh 

i i 

-.]— t : — * 

r-—1- 1 

t ^ 

l 

1 

JJ |_U 

\ -p- 

—r— 

F* E 


— p — r — 

-* i—i— 

— 1 - p_ -p.- 

-J-1--h- - 

six 








r——M—<S>-pa 

-H—i-<-h 


^r|*-Fr 


1 ^-tz^a-LU- 

s 

ip^- 1 --l 

—,^*£=*£— 

'O' -+~ 

H— m— s- 


--3 

d—«=. 

'=5^- 

=t=H 

, t= t=^ 

»— r—r 

-1 - 1 - 

:- -P=i=- 

in: t== 
































































































































































































226 


RALSTON CULTURE 



Fig. 247. Light Step. 


Figuee 81 Enlaeged.— Explanation: This is the imitation of 
running while standing still, as it is sometimes described. The 
body does not advance at all, hut the legs have the regular motion 
of runmng. This is still more beneficial to a weak heart, if done 
lightly and a very little at a time. Of course it is dangerous to run 
or exert one’s self in a violent manner. Deaths have ensued from 
over-efforts. But the modern cure of heart disease in many of its 
forms is by light step movements. Let the run be as easy as a walk 
at first, raising the feet but a few inches. After a while raise the 
feet higher. This method of change alone determines the tax on 
the heart, except that the time of the music may be increased. No 
muscles can be strengthened, unless they are taxed by some weary¬ 
ing effort; but the exertion should not go to the line of injury. 


Figure 81 


THIKD SET. 


LIGHT STEP EXERCISE. 



#* r , £ = 

-f- * -f- f 

* #® 

:£L * |-S 

-M~ 

J J | 

^4=333 

#- ^ r f 

1 I 1 1 

551— ~d ,—<■—aj Ml 

-L j—i— 

till 

'M ~ai~f 

i 

1“ 

1 1 1 1 
~aj ’ol M, ~M 

M M 0 * 

4-1-1-1— 

JK.^p 

1 1 1 1 

* m m * 

§P 3 ^ j i 

-*—«—-*—-<p-l 

SJ 

—i——i-1-1— 

:« m * m 

-M — M —V— M - 

. j i : 

'-M — M — M — M - 


Hi 


-f=- 


*-*»**» 


~at * # '¥ 

-P- 


*- ^-1 - 1 - CC — 1 - 


gM* 


I I I I 

* * * » 


S3 


^=^zz^: 


till I I I I 
—J— J—J-3^E3 


■«—«- 


3* ^ 
























































































































































228 


RALSTON CULTURE 



Details of Fig.81. 





Fig. £53. 


R alsforj Physical Culture 






















































































































MUSIC AND EXERCISES 


229 


The variations of this exercise are among the most in¬ 
teresting in the system. In Figure 248 the movement is similar to 
that of treading. On count one the right foot is to he raised about 
an inch; on count two the left foot is to be likewise raised; and so 
continue for sixteen numbers. On the next count raise the foot 
about two inches. The intention is to keep on increasing the height 
until the movement of Figure 249 is reached. This again is in¬ 
creased until the higher altitude of Figure 250 is acquired. These 
three movements are degrees of each other. 

In the running action of Figure 251 the exercise at once 
changes its nature. The lifting and lowering of the feet in alter¬ 
nate movements as seen in the three preceding figures is developed 
into an actual attempt at running by introducing that motion. It 
is possible to assume all the appearance of real running in this 
exercise, and yet not move forward. We do not wish any onward 
action, for that of itself is still another and more common exercise. 
It is even possible to take the running backward while making all 
the appearance of going forward. This can be practiced as lightly 
or as heavily as the pupil may decide. The better action is that of 
running without moving forward or backward, and with short, easy 
steps at first. The practice taxes the muscles and vitality of the 
heart, for which reason it should be used to strengthen and not ex¬ 
haust that organ. When the breath comes hard, it is evidence of 
too great an exertion in such cases. The heart is constantly grow¬ 
ing weaker when it is not taxed at all; but this does not imply that 
a sudden increase of its accustomed efforts should be adopted. The 
gentlest gradations alone can serve to give it new life. 

The variations under Figures 252 and 253 are safeguards 
in cases of weak hearts; for it is almost impossible to overdo them. 
In Figure 252 the knees should be held tightly against each other 
while the steps in running are made on the balls of the feet. This 
requires an advance of the body in a pleasant and exhilarating 
action. In Figure 253 the ankles are held tightly against each 
other, and the running is made on the toes, or a few inches farther 
forward than when on the balls of the feet. The music may be 
played slowly or rapidly. The smaller the exercise in range, the 
faster may be the music. The teacher must see to it that the pupil 
whose heart is weak does not have the opportunity for over-exer¬ 
tion. The running, like any of the light steps, may hold the inter¬ 
est too long, and exhaustion may follow unexpectedly. 


230 


RALSTON CULTURE 



Figure 82 Enlarged.— Explanation: This is a peculiar move¬ 
ment that cannot he described easily in words nor shown in a 
picture. Its chief characteristic is its lateral action. To learn it 
practice stepping to the right, then to the left, then to the right,' 
etc., while the chest and face are to the front. As you step 
to one side by a lateral movement, bring the other foot up to the 
strong one, and rise slightly on the toes of both feet. Then move 
to the other side, change the weight, bring up the free foot and 
rise on the toes. The counts are generally full measures. On one 
move the right foot to the right side, slide the left foot toward it, 
and rise. On count two move the left foot to the left side, slide 
the right foot toward it, and rise. Continue this for sixteen meas¬ 
ures. Then vary it by going ahead in oblique directions in place 
of those to the sides. 
















Figure 82 


FOURTH SET. 


LIGHT STEP EXERCISE. 


v; ; V 


/ -P 9 |s Is 1 

- -jS -N-1- 

- -ViVH* H* 


((S-4 —0 —«- 

-1 -1 -1 

* i:: * 

— 0—0 — 0 — —0 — 

-* * * : 

—h3-brf- - - 

\ tr 

-0— -0- ~0~ 

J -0- -0- -0- 

1 7ZXi—n -Si—»-tv— m — 

L. 

P- -P- P-- 
- hS--—— 

Jt :ft $ 

- m - m - 0 — 

--£1-J 

£'- *- 3: 

1 ^-P—F-F—F— 

\-4:-Iuumm*- 

:=f—1= t= 

- K - P - P-P— 

-FS-1-1-1- 

- |S p -P—P - 


** 

\--0 -""- 

-’- 






V--V-V 


hS^S—h 


0—0-0 


-* 




— P—5i- 


-IS-—iv 


# 0 


-P- o. -P- 


0 0 

:c :»: 


0 

0- 


0 - 0 - -m- 



ur ir ar 

0 0 0 

ZJS 9 p 

-:v»’ 0 0-1 

jg. is p p p 

S- tzrtz 

—IS-1-1-1- 

0 >“ V 

p — 1 

- I ""™ 11 -- 

Lti --- 

-—----—- 




^ zzlH-^s-zt 


\ 

as* £9- P 

=3s-qs q 

# 

a 

I 

1j 

« 

4 

1 

_L 

—P—i-1- 

-+3 - \0 —1- 

—0 0 — 0 —— 

izp—pzzPi^z: 

tr 







-®- -p- p 

•p- -0- 

-- 0 - 0 - 0- 

:S: » p 

-0- 0- 

0- -0 - 0 - 
--In'-bws— 

0- - 0 - 0- 
0- 0- 0- 

-m— tar —In— 

P- p. _p. 

® -0- -0- 

- 0 - 0 - 0 -1 


t- t= t=rt= 

--P«—P - 

-iS-1-1——|- 

—l5_p—p—p_ 

"0 : 4 J- 

-|S_p—P—P_ 

-p 1 - 

' trt 

—^— ’—— 

—0 -"*™- 








p^zzziv 1 ^—=|=qv=qs q: 

j-P-i — P — ~-|—i—i—i- 


F^=«= 


p—g—*~ 




.<«- 

_p. _p. pr 


-#- -»- ® 


^ # * i» | > » jR Z |. I"* '* 

] *» — !—i——=j:*:--g--g—zr-|z<i~. 


p :p 


(W |5> fii 


s- 


p 
















































































































































232 


RALSTON CULTURE 



Figure 83 Enlarged.— Explanation: No picture can convey 
an idea of this whole exercise. A brief description will appear 
here, and a more extended one in another part of the volume. It 
is considered by some the most beautiful exercise in the Ralston 
System. On count one place the fists in front and behind the 
waist, and take a step to the right oblique forward direction. On 
count two bring up the left foot and take another step in the same 
direction. On count three stoop over to the right oblique, extend 
the hands held low down in front of the knees, as though they 
held a rope, and pull backward to the left oblique, at the same 
time taking a double step; and on count four repeat count three. 
This is a combination of the sailor’s stage dance in counts one and 
two, and the rope dance in three and four. 



Figure 83 


LIGHT STEP EXERCISE. 


FIFTH SET. 


I 






f. - . *- W=3 t 


t 


-~rw- 


-n— w- 


irfr 


=P==^= 




:S 


^-3—P 















































































































































































234 


RALSTON CULTURE 





Details of Fig. 83 . 




r i g. s 6 1 


Ralsfor) Physical Culture 




























































































MUSIC AND EXERCISES 


235 


The sailor’s lightstep is regarded by many as the most 
beautiful of all the system of physical training. The details which 
are pictured in the illustrations are caught from the crudest part 
of the exercise, and are designed to help the pupil at those turning 
points where the teacher may have difficulty in making explana¬ 
tions clear. We will assume that the body is to advance to the left 
oblique forward direction as is indicated in Figure 256, although 
that is the teacher’s first attitude in this exercise. It should be 
remarked that the pupil is to move to the right, or first use the 
right side on count one, while the teacher uses the left side. This 
is intended to prevent confusion by having a teacher who is facing 
the pupil take the action in an opposing direction. On count one 
take a step to the right oblique forward, as in Figure 255. If you 
are the teacher you will go to the left oblique forward as in Figure 
257. On count two bring the retired foot up to the advanced foot 
and take another step forward in the same oblique. The two Fig¬ 
ures, 256 and 257, show the preparation and execution of each step. 
Thus, if the fists are placed in front and back of the waist, as there 
indicated, and the foot is brought up in a swinging motion as in 
Figure 256, the body is then in the attitude of preparation, which 
is executed in Figure 257. In Figure 258 the attitude of the feet and 
hands may be seen after count three has been executed, which is the 
first step backward. Count four is just like count three, and makes 
the second step backward, both being taken in an oblique direction, 
so as to bring the body to the position from which it started for 
count one. 

The change of direction must occur on count five. Fig¬ 
ure 259 shows count one for the pupil, or count five for the teacher, 
as far as getting ready is concerned. The execution of counts five 
and six are the same as in Figure 260, as two steps are taken, both 
being alike. Figure 261 indicates counts seven and eight, both 
being alike. The pupil is supposed to be pulling at a rope, with 
the head and body lowered. The steps backward should be long 
slides. The raising of the foot, as in Figures 256, 258, 259 and 261, 
is a rebound action which is readily acquired after a few trials. In 
the sailor’s light step the rhythm is of the utmost importance, as 
well as the rocking swing which an easy and graceful movement 
may readily impart. Be careful to avoid putting the weight on the 
heels. Let the steps be as light as you can make them. 


236 


RALSTON CULTURE 



Figure 84 Enlarged. — Explanation: Here comes the rocking 
run made famous through the Ralston System. There is a fascina¬ 
tion about it that is not hard to explain when it is once witnessed 
properly performed. Yet it is a severe test of a strong heart. We 
advise all persons of weak hearts to let it alone until a year or more 
of time has been devoted to the preceding light steps. Stand on 
the right foot, with the head down in front and the left foot raised 
behind, and on counts one and two give two jumps on the right 
foot. Then shift the carriage of the body so that the chest faces 
the ceiling above; put all the weight on the left foot, while the 
right is raised in front; and on counts three and four give two 
jumps on the left foot. The lower down the head is carried on 
counts one and two , and the farther back it is carried on three and 
four , the greater the effect and results. 


















LIGHT STEP EXERCISE. 


Figure 84. 


SIXTH SET. 






































































































































238 


RALSTON CULTURE 



Fig. 263. Devitalizing. 


Figure 85 Enlarged.— Explanation: A most important part 
of all scientific physical training is relaxation. The nse of a muscle 
stiffens it as an incident to its being made stronger. This is seen 
in the hand set muscular system of a laborer. The non-use of a 
muscle causes it to become thin and atrophied, or wasted. Between 
these two extremes science must lead the way. A series of relaxing 
movements ought to find a place in all physical training, and there 
should be one such exercise in every set. The first herein is the 
devitalization of the hands. This must precede others that are 
to follow, for the hands are used in connection with all except part 
of Figure 188. Shake one hand first, having the fingers limp as 
strings; then use the other hand in the same way; then both to¬ 
gether; and change by practicing with the hands in all elevations, 
at the sides, at the back, at the hips, at the shoulders, over the head 
and in lateral extensions. 






Figure 85. 


DEVITALIZING EXERCISE. FIRST SET. 

tiva .. 




* 8 . . 

5=flfl ^SS 

F?qfl aM 


N*a — 

£«-3 

-a- _ X V 

^:-s^-t—. __ ^3 L- 

cres. / 

rn^r zt—T-: 

- X.7I0 -1 

_ _ pp_^ 

1 L ^ ««| 

“ ^55-—E--_ - d. - H 

Bigg**/ ^ rr 
















































































































































240 


RALSTON CULTURE 



Figure 86 Enlarged.— Explanation: What is true of one set 
of muscles is true of all, though not in like degree. The hands 
should never he allowed to acquire a rude stiffness, nor a flabby 
weakness; and they require more practice in devitalization than 
the feet. But the latter must not he neglected, as their stiffness 
means awkward walking and general movements of a clumsy na¬ 
ture. The principle on which the feet are devitalized is to shake 
them until they are quite limp and free from a stiff condition. It 
is possible to do this standing as well as sitting, although some 
teachers do not think so. Put all the weight on the left leg, raise 
the right foot, and shake it so rapidly that you cannot see its shape; 
then reverse and use the other foot in the same way. Eow sit and 
try the right, the left, and both together in turn. The strongest 
muscles may be made perfectly flexible, yet retain their full 
strength. 























Figure 86 


SECOND SET. 


DEVITALIZING EXERCISE. 



























































































































































































































242 


I\A LSTON CULTURE 



Figure 87 Enlarged. — Explanation: Start with the arms 
at the sides, the hands hanging limp. You can take out all vitality 
by the act of the will, or thinking about it. On count one lift the 
arm until a right angle is formed at the elbow. It now is held up 
by ordinary vitalization, all energizing being absent. On count two 
command the vitalization to cease from the elbow down; as a result 
the lower half of the arm will fall to the original position and hang 
limp. On count three lift the arm as in one ,* on four devitalize it; 
and so continue for eight counts. On nine use the left arm in the 
same way, up to sixteen. On seventeen use both arms alternately; 
on twenty-five use both together; and continue to thirty-two. The 
very thought is sufficient to cut the vitality off at the elbow. In all 
this practice the fingers and hands must likewise participate as in 
Figure 187. 



















Figure 87 


DEVITALIZING EXERCISE. THIRD SET. 





V 

H * 



——1 

—1* 



J LI. 

—P 

Er*ZI--£S 



T- 

— F 

*~W 1 "J ! 



j 


1 — __ L Zd _'_T' ^ 

V 

rx 


\ 

^ a 


# 4 

F ^ 


.Li —^^1 1 



» i 

' -V 

• »JP 

-d 

p- 

m£t .f:® ' ®. » 

fc 




m.A _ v 


F-l- 

F- 


F-i i m-i i 

^ F «p. 

zi-3 - 

\w5-X^wE-\ 


1 

• 



—arl— 

I— 

- z±m* -hW- 

» tr. f : - 





-F- 


—F- 1 — 

.1- 

i— 

— i00&r. - 

-^p=t*9®- 








































































































































































































































244 


RALSTON CULTURE 



Figure 88 Enlarged. — Explanation: It will be noticed that 
Figure 187 applied to the fingers and hand, while Figure 189 ap¬ 
plied to the fingers, hands > wrists and forearm. Here we involve 
all those parts, and add more, carrying the devitality to the elbows, 
upper arm and shoulder. Lift the arm as high as possible, straight 
over the line of its support, commencing with either the left or the 
right, except that the whole class must begin with the same side 
of the body. The muscles are not energized, for that means to 
tense them; they are vitalized, by which is meant that they are 
using ordinary power to do the work assigned them. An act of 
the will serves to take the vitality out, and the arm falls like a limp 
rope. Repeat until eight is reached; then use the other arm in the 
same way; then both alternately; then both together. 


















Figure 88. 


DEVITALIZING EXERCISE. FOURTH SET. 










































































































































































































248 


RALSTON CULTURE 



Figure 89 Enlarged.— Explanation: The languid mood takes 
the stiffness out of the muscles without lessening their strength, 
provided it is used in the proper proportion. In childhood all 
swaying and moving about in lolling standing positions occur at 
the ankles. Stand, and notice how easy it is to sway right and left, 
using no muscles whatever except those located at the ankles. How 
swing about, without moving the feet, twisting the whole body 
naturally in so doing. To this add the right and left action of the 
shoulders, and cause the arms to swing about as though they were 
limp ropes attached at the upper ends, and had no power of resist¬ 
ing the motion to which they are subjected. This is a form of de¬ 
vitalization that involves the outward lines of support, and is 
highly beneficial if the movements of all the other figures in this 
series have been fully practiced. 















Figure 89 


DEVITALIZING EXERCISE. 


FIFTH SET. 



I 




-i-h 


1-^ — * 


sr- --fr—— 


«»l 


S*-rv 


:=i—P—sf 


i 

h- 


1=5 


:c 

I 













































































































































































248 


RALSTON CULTURE 



Figuee 90 Enlaeged.— Explanation : This is one of the best 
and most artistic forms of devitalization. It involves the whole 
body from the head to the knees. Stand firm, the hands at the 
sides. The body has four main lines of support; at the knees, 
waist, chest and neck. On count one command all vitality of the 
muscles to leave the neck; the head immediately falls and rolls. On 
count two command all vitality of the muscles to leave the chest; 
that region at once collapses, as in a tired posture. Carry the com¬ 
mand to the waist, and the torso, chest, head and arms all pitch for¬ 
ward. Now, on count four , devitalize at the knees, and the body 
would fall but for the support at the feet. On count five vitalize at 
the knees; on six, at the waist; on seven, at the chest; on eight, at 
the neck. Continue for thirty-two counts. See that the muscles 
are thoroughly relaxed at each command. 



Figure 90. 


DEVITALIZING EXEKCISE. 


SIXTH SET. 

































































































































































































250 


RALSTON CULTURE 



Figure 91 Enlarged.— Explanation: The term artisans is the 
polite appellation of men that toil. It is not necessary to do the 
work of these closing series in order to prepare one for the arduous 
labors of life; hut, as the movements are important for hygienic 
reasons, and involve considerable pleasure at the same time, they 
are necessary to this system, no matter by what name they are 
called. Here we climb the ladder, using “all fours” vertically. On 
count one raise one foot and one hand; on count two raise the other 
foot and the other hand. Commence with either foot, so that all 
the class use the same side on each count. One way is to begin with 
the right foot and right hand on count one, the left foot and left 
hand on count two, and so on. Another way is to use the right 
hand and left foot on count one, the left hand and right foot on 
count two, and so continue. Do not advance the body. When one 
hand or foot is up, the other hand or foot will he down. 
























Figure 91 


FIRST SET, 


THE ARTISANS. 























































































































































252 


RALSTON CULTURE 



Figure 92 Enlarged.— Explanation: This is the hell-ringer. 
It is exquisitely beautiful. There are several ways of performing 
the movement, and the music has much to do with the success of 
the action, as well as its enjoyment. On count one step right oblique 
forward, raising the hands to grasp the supposed bell-rope, and 
lifting the left foot close behind the ankle of the right. On count 
two step obliquely backward on the left foot, lift the right in front 
a few inches, and pull hard down on the rope. On count three re¬ 
peat the combined action of count one; four is the same as two. 
Allow eight counts for the right side and eight for the left, repeat¬ 
ing until thirty-two is reached. At the first practice it is well to 
keep both feet on the floor until the full rhythm of the action has 
been acquired; then the dainty lifting of the feet adds to the artistic 
value of the exercise. 





















Figure 92 


SECOND SET. 


THE ARTISANS. 



four 


pr=- 

J 4 4 J 

-»--1-1- - 

-i =r— =r-=i =i—= 

^ r r j 

-^-H-^-1- 

- * 3 ^— 

IS 2 +- —* 

) 5: - 

L W- * 1- 

--*- 0 - M. - ML 

1 | 

@ L 1 —F FH 

—r i- 

C ^ ’ J ' 

\ -tr-nt— 

t=^———*- 

-5—J 













































































































































254 RALSTON CULTURE 



Ralsforj Physical Culture 





























MUSIC AND EXERCISES, 


255 


The details of the Bell-ringer exercise are but four in 
number; but, owing to their importance, they should be well un¬ 
derstood. Very little or very much may be made out of this, the 
best of the Artisans, as it combines beauty, grace, pleasure and 
profit as a means of physical training. It may be done smoothly 
so as to produce no jar of the body, or in a jerky and angular man¬ 
ner so as to destroy all its value. The conservation of vitality or 
force is necessary even to the skilled laborer; and that man is most 
tired at night who has been most angular in his work. He who is 
always in perfect poise in every part of every motion never strains 
his muscles or loses by unnecessary wrenching the vitality that 
keeps the engine of life in full activity. 

In the Bell-ringers the feet are given a swing forward and 
backward, the two movements uniting so as to produce one rocking 
motion of ease and grace. The difference between the plain and 
the graceful methods is seen by comparing Figures 270 and 271. 
In the former the step is taken without the swing of the left foot, 
while in the movement of Figure 271 the right foot has caused the 
body to advance and the left foot.has gone on and passed it in a 
long swing, all on count one. This swing may be reduced so as not 
to allow the left foot to pass the right leg; but the longer the step, 
if in poise, and the larger the range of the swinging action, the 
better will the exercise become. 

The pull is down and backward in one large sweep of 
the arms, while the weight is transferred from the right foot oblique 
forward to the left foot oblique backward. This combination causes 
the swing of the body as carried by the feet to coincide with the 
curved movement of the arms. As the stride forward on the right 
foot should be large, so the stride backward on the left foot should 
likewise be large; and as the left foot swung forward when the 
weight was advanced on the right foot, so the right foot should 
swing backward when the weight is on the left foot, as is seen in 
Figure 272. After four full movements on the right side, reverse 
and repeat to the left side, getting the swing of body and of arms 
by the aid of feet and hands. Few exercises combine so many 
opportunities for pleasure and health as this. In order to realize 
this pleasure it is necessary to fill out the music by timing the action 
of the body so there will be no wait in any part of the measure ; but 
a smooth evenness that indicates perfect rhythm. This requires 
careful practice. 


256 


RALSTON CULTURE 



Fig. 275. Artisans. 


Figure 93 Enlarged.— Explanation: This is the anvil action. 
To begin it, advance the weight to the right foot, the right hand 
being held slightly back. On count one step forward on the left 
foot advanced as far as possible, and at the same time bring the 
right fist up and over the head in a large curve, and down on the 
left fist, which should be placed on the left knee to receive it. This 
makes a complicated movement for one count. The action may be 
separated if one desires it, using one count for the advance of the 
left foot and another for the advance of the right hand; but the 
music must exactly suit it. When the first combination has been 
used four times, reverse for four to the other side of the body, then 
reverse again, and continue for thirty-two counts. The action is 
very pleasant. It becomes wearying only by giving it a large range. 
















THE ARTISANS 

One 


Figure 93 


THIRD SET 


two three 







































































































































































































































258 


RALSTON CULTURE 



Figure 94 Enlarged.— Explanation: Here we are engaged in 
the act of mowing. It makes no difference whether or not we re¬ 
produce the skill of the farmer of the olden days, for young ladies 
and gentlemen of the city are not presumed to he qualified for field 
work. On count one swing your ima,ginary scythe to the right 
backward position, as though in the act of getting ready. On count 
two come forward in a large curving sweep, stooping as you cut the 
grass, so as to carry the scythe on a line parallel with the ground. 
It is better to step backward with the right foot on count one, and 
forward with it on count two. At the end of eight counts reverse. 
This should be done very artistically, and requires that the left foot 
remain in its position for count nine, as it will be found ready 
there at count eight; and that the hands be swung to the left ob¬ 
lique backward on the same count nine. 
























Figure 94 


THE ARTISANS. « FOURTH SET. 






























































































































































































































































































































260 


RALSTON CULTURE 


Fig. 277. Artisans. 



Figure 95 Enlarged.— Explanation: The miner is at work, 
not at the ground, hut against a front wall of coal that rises before 
him. Yon see we need this kind of action, and choose to direct 
the work in this way. On count one raise the hands above the head 
or even backward, taking the position of one about to strike. On 
count two deal the blow, but do not strike lower than the height 
of the head or neck. A study of the feet now enters the practice. 
First, you can hold the right foot advanced all the time you strike 
with the right side action; then, after eight counts, reverse; or you 
can hold the right foot retired on the eight counts struck from the 
right; or you can retire the right foot on count one when the right 
backward preparation is being made, and advance the right foot 
with the right blow of the pick on count two , and deal with the 
left side in this way when its turn is reached. 


Figure 95 


FIFTH SET, 


THE AKTISANS. 

One 


two 


one 


two 



£ 


=s£ 






r- 


eg 


—-&*£- 


m — m- 


=3— m- — m -—F 

-4>- !-1- \- 


1—t- 


-P2- 


F=£ 


mf 


*—* 


-i-h 


t t 


-»■— m~ 

-i- h 


it=zz±: 


i 


-a. 

^=l= 

rF-S-- 


-l- 




* 


eg 




-p- »- 

at *: 


-P2- 


1-h 


U 


-£ 2 - 


-o- 




1-P-P-1-H- 

- 


-sp^ 

:=1=F= 


:t=t=z=t 


-!- 1 — 


s S -, 


H-1- 


-p—I#-- 


£ 


EEfbt 


*> 


* Wi- 


— 






j E3=J| 

-*)-■#-1 


- *_ r , *- *- ,-•— *— f 1- 

g=fEEMEEME|E^EElE^E=EESEl=^E 

——^- c -1—i— L -»—|—i— 1 






Sfc 




fct?z=zt^TEg>g: 


«?p- 


t==t 


P 




& 


1-rf^* 


/ 


-h— p—p 

H-P-P 


-F-h 


P P 


-P - P 


:tz: 


• - *- 


-p—« 


H-P-# 


1-^ 


S- # 

z|e=*F= 



P=Pz:hpEZ~EE~: 


II 


/ 

ttZZEEE 


Ve— t: 


i 






























































































































































































































































262 


RALSTON CULTURE 


I 



Figuee 96 Enlaeged.— Explanation: This is a peculiar as 
well as an interesting action, and is quite beneficial to one who is 
able to do it after mastering the exercises that precede. The ques¬ 
tion arises whether the right hand shall grasp the end of the handle 
or the middle of the handle. Some claim the former to be right, 
others believe in the latter method. Most laborers who are right- 
handed take the end of the handle in the right hand; some who are 
right-handed reverse this. On count one stoop and fill the shovel; 
on count two rise and throw the contents. The place of digging 
may be directly in front of the feet, and the heap to be made can 
be placed to the left side, several feet ahead. After eight counts, 
reverse and use the other side. 



Figure 96 



four five 























































































































































































































264 


RALSTON CULTURE 


Fig. 279. 


Imitation. 



Figure 97 Enlarged.— Explanation: The imitation move¬ 
ments are designed for the same ends as are the “Artisans” referred 
to under Figure 193. The present action requires a particular class 
of music to develop it properly, and few airs suit it so well as that 
which we have selected. Our description might end by saying that 
the pupil should listen to the music and then skip around the hall 
or ground, in case there is room. Large classes have performed it 
without moving from their places; but this is not the most pleasing 
way of rendering it. The musical counts come rapidly along, and 
a single step may at first be taken on each, after which let the same 
step be accompanied by a hop about one inch in height. Thus, on 
count one step and hop on the right foot; on count two step and 
hop on the left foot; and so continue until the music stops. Do not 
overdo it. 
















I 


Figure 97 


IMITATION EXERCISE. FIRST SET. 













































































































































266 


RALSTON CULTURE 



Figuee 98 Enlabged. — Explanation: This exercise is a dou¬ 
ble imitation, representing the fencer and the militiaman. To be 
properly performed the position should be held up to the last frac¬ 
tion of a second preceding the note of the music that calls for a 
change. The fencer must be quick in effecting a movement. This 
is not a rapid exercise, for there is a quietly held position between 
the notes that indicate the counts. On the first accent pass from 
an ordinary standing attitude to that of the fencer, the right arm 
extended to the side, and the left upraised to balance it. On count 
tzvo make a quick change to that of the militiaman. In the fencing 
attitude the weight is to be equally supported on both feet, and the 
knees are slightly bent. In the shooting attitude the feet are to 
be brought closely together, or else one is to be placed behind the 
other. 


























Figure 98. 

IMITATION EXERCISE. SECOND SET. 



































































































































































































268 


RALSTON CULTURE 



Figure 99 Enlarged.— Explanation: This is the pleasant 
occupation of attempting to push over an invisible wall. It is of 
unusual value in its effect upon the muscles, by reason of the spe¬ 
cial use made of them. On count one extend the arms in front, the 
hands being almost at right angles with them, and push forward 
with energy. On count two relax all the muscles. This is the 
easiest method of practicing the exercise. The hands should be 
at the sides as a preparation, raised on count one , and brought again 
to the sides on count two. The feet may remain one in front of the 
other, the left acting as the pushing foot and the right advanced 
with the knee bent. On count two return the advanced foot to the 
side of that which was retired. After eight counts reverse to the 
other side. 






Figure 99 


IMITATION EXERCISE. THIRD SET. 

two 









































































































































































































































270 


RALSTON CULTURE 



Figure 100 Enlarged.— Explanation: This is an excellent 
change from the pushing movement. It involves the stretching 
action, and must not be confounded with that of pulling. In the 
latter the direction is backward in a straight line. In stretching, 
the action is chiefly lateral. On count one advance the right foot 
to the front and grasp the supposed elastic string; on count two 
extend the arms as widely apart as you can while stepping back¬ 
ward on the right foot; on count three advance to the first position, 
bringing the hands together. The main action is on the even-num¬ 
bered counts— two , four , six and eight. The arms should be 
strongly tensed as the outward pulling occurs, as though the elastic 
cord were almost too strong for the effort. After eight counts, 
reverse the standing position and continue for eight more, and so 
on for thirty-two. 























Figure 100 


FOURTH SET. 


IMITATION EXERCISE. 

One two one two 




one two 

0 .« tt m. m. m. s .. - ^ 


—u«-u- l . • 

i M i IS 

Is s Is X 


— ti, M. Wt W. ?\ WL y\ 

<*1 S 1 •'I i *1 

I^P ^ UP 


^ — tS ~ l m ?M 

—1- 1-— 1- —1 1- —1 


y !i 

' V & -00^~ 

~ m w m its 


i —j > > 

J9-- JB~ J*~ 


—i »- W~ 

i ^W 

m Sf 

JjX-Ut -1 |_ j_ 

I \ 

- fa “ 


ft J— 1— 1 

jj 1 1 

- fa- |- |- - 


w ^ ^ 

—J-1-1— -J 





J 






























































































































































272 


RALSTON CULTURE 



Figure 101 Enlarged. — Explanation: In this striking exer¬ 
cise the purpose is to deal a heavy blow to an imaginary hag after 
the manner of practice in a gymnasium. On count one step hack; 
on count two advance and strike forward as hard as possible. If the 
muscles are tensed there will be no strain on the hack; otherwise 
lameness may follow for a few days. It is almost always possible 
to prevent or to lessen the danger of lameness by making the whole 
body tense. In striking the blow, if you advance the left foot as 
the right hand is sent forward, you preserve the law of grace. If 
you advance the right foot at the time you advance the hand, you 
add force and distance to the blow. If you simply remain in a 
fixed position, the effect is neutral. 































Figure 101. 

IMITATION EXERCISE. FIFTH SET. 

One two one two 



t sdm p- 

i-F- p — 

rf-S— 

r-e-»F-1 

r" -v “1 


l__ ii 1 _ [_ 

r ■ 

r- s* r - 

- — r — - 

Li —A * ia 

to h 

w Mt 

t vtr h to h 

tZI3 jJto • 

1 r 

- V- - P* - 


! r i - 


1 i 1 i i i i i 

t g g tr- S'- -g: :g: g: g g: 


a*_ a m. m \ 

i & ® "i 

W W 

--1-1- 

- or m ~~i 

ti rr 

r n t r 

— J i , 

- u 1-1— 



^ l M r 

r i r 

r * r~ 


—w f— h -\ 

at ' 1 i 

L ^ 1 1 I 

t 1 •- 

L 

; h d 


















































































































































































































274 


RALSTON CULTURE 



Figure 102 Enlarged.— Explanation: This is a representa¬ 
tion of pulling, and it may be performed in a number of ways. On 
count one pull straight backward; on count two relax and take an 
ordinary standing attitude; on count three pnll backward again; 
and so continue for thirty-two counts. The pulling may be done 
by the stiff arms unbent at the elbow; in which case the body would 
do the backing and pulling by a step of the foot. It may be done 
by the arms bending and the body remaining still, or it may be done 
by the arms bending and the body moving backward, in which 
case the distance would be greater. All these are important varia¬ 
tions of one principle in muscular development. The arms should 
be energized and the torso be made to exert much strength even to 
the waist muscles. 





















IMITATION EXERCISE. 


Figure 102 


SIXTH SET. 



id&rr -f- 

/ z=^=, 


: f“ n=i ^ t 

:~ah~+—ai — 

^F 

+ # i£=q 

=£ =*—t- A-i 

(m *■ j- L 

-sq si 1 

- r f-f ■ r 

•-£—F 

-i---- j 

. s p 

' *.- - 

¥ 

r——l 



























































































































































































































&76 


RALSTON CULTURE 


END or THE SCIENTIEIC COURSE. 


In the foregoing department we have presented the full 
series of enlarged exercises accompanied by music; each following 
in numerical order, and all constituting the Scientific Course of 
Ralston Physical Culture, if practiced properly. To be rightly per¬ 
formed, so as to produce real benefit to the body, they should follow 
in the order as already stated; that is, the first of each series should 
be practiced before the second one of each series is tried. These 
are called sets. Thus the first set consists of 1, 7, 13, 19, 25, 31, 
37, 43, 49, 55, 61, 67, 73, 79, 85, 91 and 97. All these should be 
mastered before those of the second set are undertaken; and they 
should be taken in the order presented by the above figures. This 
mode of procedure has been amply explained in the pages of de¬ 
scription that precede the first presentation of the system in this 
volume. 

It is called the Scientific Course as distinguished from 
the Entertaining Course, •because it is not designed primarily to 
please or amuse so much as to benefit. While work is better for 
the health than inactivity, play is still better than work, and a 
scientifically arranged system of exercise is far better than play, for 
it does not tire, weary or exhaust any part of the body while some 
other part is totally neglected. There is no play that taxes and 
relieves the muscles in turn, or in any way; those games or sports 
that seem to involve the whole body fail to include many sets of 
muscles, as can be proved by this system if it is employed as a test. 
Thus, when a well-known all-round athlete asserted that his prac¬ 
tice was strengthening to all parts of his body, we showed very 
quickly that he was mistaken; for quite a large number of the move¬ 
ments of the system which appear on the preceding pages were used 
to discover what muscles he had neglected, and this was done in 
the presence of a large class of pupils. Yet our position would be 
denied by any theorist, since the general activity of the body seems 
to include all its muscles. We have not time in this place to show 
the difference between theory and fact. Let it be remembered that 
the Ralston System demands that the most careful attention be 
accorded it if perfect health is sought; and it is of the highest im¬ 
portance that the exercises be practiced in sets rather than in series. 



THIRD DEPARTMENT. 


Entertainment Course 

IN 

Ralston Physical Culture, 


Designed for schools, colleges, and other institutions 

where the chief end sought is to entertain and delight the pupils 
while seeking to improve the health. 

Also designed for parties, home entertainments and 
Social gatherings where the greatest amount of pleasure is desired 
without the tediousness of drill or practice, in the effort to rebuild 
* the body on the model of perfect form and health. 

-o- 

The plan followed in the Entertainment Course does 

not lessen the great value of the exercises, except that the finely 
balanced movements of the Scientific Course will more quickly 
restore a person to health than the present arrangement; hut no 
one can perform the movements of this Entertainment Course with¬ 
out finding the health of the body and its every muscle, nerve and 
organ steadily growing better. More than this, the constant use- 
of the exercises merely as means of pleasure will prevent sickness^ 
even among those who count themselves in good health. We 
recommend that they be practiced three times a week, if the time 
can he afforded; but once a week, or once a month, will be better 
than nothing. 

The selected exercises are kept in partial balance, as 
will be observed by a casual glance at them; and the value of this 
balance, which consists of constant change and relief, will be fully 
understood when one comes to engage in the practice. All that is- 
said under the descriptions given elsewhere in this volume should! 
be carefully read and understood before attempting to enter into* 
the present course. 

The same music, the same movements and the same 
extended explanations that have already been given will be re¬ 
peated. It would be folly to vary a standard exercise the value of 
which is fixed; and to add new music would be still more confusing. 
Most of the exercises require airs that are very hard to obtain. 

( 277 ) 






278 


RALSTON CLLTVRE 



Figuee 1 Enlabged.— Explanation: The purpose of these ex¬ 
tended descriptions of the exercises is to make clear to the student 
of this course the finest details of action connected with the move¬ 
ments. It was proper that a whole series should appear together 
on a single page, so that the eye might discern and compare the 
different phases of the system as far as it applies to each part of 
the body. Here a whole page is devoted to a single exercise which 
is seen in enlarged form, and is followed by a clearer explanation 
than can be crowded into a small space. The music is then placed 
directly opposite for the greatest convenience to teacher and musi¬ 
cian. The Iron Legs series begins with a very gentle exercise. The 
best way of performing it is to give a swinging motion to the body, 
dipping hack a little as the knees bend forward, and pitching the 
head slightly forward as the knees are straightened. The pleasure 
is very great if there is no jerk or jar in the action. 







IRON LEGS. 


Figure 1 


FIRST SET. 



il 


tW~~WZ 


J—*■t 


u i 


* .* * * izUJ 


EH 


=t==t==t=: 


i 















































































































































































































































































280 


RALSTON CULTURE 



Fig. 111. Foot Exercise. 


Figure 9 Enlarged.— Explanation: The inquiry has often 
been made by pupils why the use of one foot or leg in exercise will 
impart more strength than the use of two. The answer should be 
foreseen by every person who has thought about it. When a body 
that weighs a hundred pounds is supported on both feet, each foot 
has but fifty pounds to sustain. When such a body is supported 
on one foot only, that foot has one hundred pounds to. sustain, and 
the more tax we place on the muscles the more they will grow in 
strength if they are given a chance to recuperate by rest. For this 
reason frequent rests are necessary in scientific physical training. In 
the above exercise the whole weight of the body is not only placed 
on one foot, but it is made to rest on the forward support. This is 
done so easily that it will hardly be noticed, if the musical action is 
followed. On count one raise the free foot first and let its upward 
action or acquired momentum pull the weight olf the heel of the 
strong foot, and thus raise the whole body by the toes of one foot. 
In doing this the degree of elevation will determine the amount of 
tax to be placed on the latter. 


Figure 9. 

FOOT EXERCISE. THIRD SET. 

One two one two 






































































































































































































































282 


RALSTON CULTURE 



Figure IS Enlarged.— Explanation: In this movement there 
is a tendency on the part of pupils to disregard the necessity of 
maintaining exact positions of the feet, and thus much of the ben¬ 
efits intended may be lost. The best position to begin from is 
the military attitude; the heels together and the toes pointing 
obliquely outward. On count one cross the right leg in front of 
the left, placing the toes together and the heels apart in the shape 
of the letter V reversed, or A with the bar removed thus, A. On 
count two put the left leg in front of the right leg by swinging it 
around, and make a new angle in the same shape, A. On count 
three swing the right foot around in front of the left, as on count 
one. These swinging steps should coincide exactly with the rhythm 
of the music to avoid a jerky or jarring action. At no time should 
the poise be disturbed. The body may be kept over its gravity 
point by graceful adjustments of the body at each movement. 





















Figure 13 


ANKLE EXERCISE. 


FIRST SET. 


One two 


one two one two 





lUj u-P 


PT =f= 


T&tt=gt: 


mmaeurnm 


r 








> ^-hL 


tt* 






i 


=4= 


£ 


—I- 


i. 


m 


~*m - W- 


4 P 


:t: 




i 





























































































































































































284 


RALSTON CULTURE 



Figure 31 Enlarged.— Explanation: Here we commence the 
series of movements that are designed to strengthen the muscles of 
the waist. They are very old, probably four thousand years of age, 
the first two. The bending at the waist is the most beneficial of 
exercises, as far as immediate results are concerned in the matter 
of health. Nothing better can be practiced in cases of stomach 
weakness, indigestion and inactivity of the system. The above ex¬ 
ercise requires the bending to the right on count one, and the head 
and shoulders should be inclined to the right as far as possible. 
On count two the action is to the left. The more the head is low¬ 
ered the more the waist muscles will be called into effort. This 
little fall of the head makes a great difference in the tax which is 
placed upon the lower chest and waist, and this is of decided value. 
Be sure not to bend at the hip joints. 





















Figure 31. 


WAIST EXERCISE. FIRST SET. 

One two one two one two 


1 a tr ' 


~i— 


—F——=r 





—i 

-1— 


-1 

w 

- 1 — 

— « — 

—J- 

f— a “ 

Ss - 



—-J-— 

11 

CU 

—i — 

—i — 

— -0 — 

* : 

j p 

% 

— 'm — 

=u 

— — 

s 

-- 

i 

- 1 - 

* 

— t - 

i 

1 

i - 1 — 

— m — 

t 

-L_.- 

4 

-— 

|3 

w 

—F — 

-r 

—— 

=N 

- 1 - 

F 

1— 

-- F— 

- ^ H 

l -1 

u w 

f 

r 

F — 

—— |- — 

^0 

r J 



































































































































































286 


RALSTON CULTURE 



Figure 73 Enlarged. — Explanation: Any rapid movement 
of a muscle sets the blood throbbing quickly through the veins 
and the nerves respond by a feeling of life. A quick step, a rapid 
lifting of the arm, or anything that involves speed, is of the highest 
value in waking up a sluggish body. Sometimes a headache that 
is due to a clogging of the system or a stagnation of the blood in 
the veins of the head, is instantly cured by a quick motion of some 
part of the body. In the present movement the right hand must 
he made to pass rapidly around the left, the latter being held still. 
After eight counts, reverse by keeping the right hand still and caus¬ 
ing the left to pass around it. If the speed is good, there will be 
two or more revolutions on each count. Reverse by changing the 
direction, also by causing both hands to revolve about each other. 



















RAPID EXERCISE. 


Figure 73 


FIRST SET. 



=f=^= r =n—5 

-4-TH 1 L S—\ J m * * 

r*-*- 

~ F~ ^-1—— 

P 3 ^ 

i —4 ~m - -m- 

r » 

(ibiS— 

* * < <L.»' - 

4 4 S 4 

t t L t t _1 

- h- ^-1- 

F j r r 

^ J 

F £ H q 


-- E-p---1 

rm 

—l t 

4 3 4 

N b J 

^ - - j 


r i izi « • w -F 

r 4 r 4 4 

t t-:-t- F 

i *\ - ■ 1 — 

£= ft 

=i r ft F 

Si fl 

■ . ~=P P q 

[ **^9- - -0 - 

L (- 

- 

» - !-1- -. 






f~\* —1*"^ 0 '1 

^sl —I 

< 

( ---=}-:—- 1 - 

: ——1-i F =t-4 : 

~l -4 -. 

. :ft tpbm. 

~$"rV—& - h 1 1 0 ~r* 

L l- . * f- 

1 

%: -E 

1 i 

—I 

— j— j~m - ~m - : 

-#-: 


t 1 

__________ 

"iMHnMSBUimHSHHflBMHflH-■- 

2 “1 

i if ' ^ i 

f r 

AM ^ ^ <m\ j. ! | •■ 

4 i 3 1 

r 

l g fi p 

f 3fck—- - 


* ' * *:» * 1 :.. 

F — 1 

|; r i " 

sL a" - n 

W—*- ' ^ _ - 1 

p- 1 

































































































































































































































288 


RALSTON CULTURE 



Figure 91 Enlarged. — Explanation: The term artisans is the 
polite appellation of men that toil. It is not necessary to do the 
work of these closing series in order to prepare one for the arduous 
labors of life; but, as the movements are important for hygienic 
reasons, and involve considerable pleasure at the same time, they 
are necessary to this system, no matter by what name they are 
called. Here we climb the ladder, using “all fours” vertically. On 
count one raise one foot and one hand; on count two raise the other 
foot and the other hand. Commence with either foot, so that all 
the class use the same side on each count. One way is to begin with 
the right foot and right hand on count one, the left foot and left 
hand on count two, and so on. Another way is to use the right 
hand and left foot on count one, the left hand and right foot on 
count two, and so continue. Do not advance the body. When one 
hand or foot is up, the othe!r hand or foot will be down. 

























Figure 91 


FIRST SET 


THE ARTISANS. 











































































































































































































































290 


RALSTON CULTURE 



Figure 97 Enlarged.— Explanation: The imitaticn move¬ 
ments are designed for the same ends as are the “Artisans” referred 
to under Figure 193. The present action requires a particular class 
of music to develop it properly, and few airs suit it so well as that 
which we have selected. Our description might end by saying that 
the pupil should listen to the music and then skip around the hall 
or ground, in case there is room. Large classes have performed it 
without moving from their places; but this is not the most pleasing 
way of rendering it. The musical counts come rapidly along, and 
a single step may at first be taken on each, after which let the same 
step be accompanied by a hop about one inch in height. Thus, on 
count one step and hop on the right foot; on count two step and 
hop on the left foot; and so continue until the music stops. Do not 
overdo it. 




















Figure 97 



















































































































































































































































292 


RALSTON CULTURE 



Figure 2 Enlarged.— Explanation: It is supposed that you 
have gone through all the seventeen exercises of the first set, and 
are now ready to take up those that are slightly harder in the 
second set. It is the purpose of this system to wait till the muscles 
are getting more used to the work and practice before giving them 
a full test of endurance. There is no good reason why the bodv 
should he made stiff and sore uselessly. The first set passed from 
the gentlest of the leg exercises to those of the feet, then the ankles, 
and so on up the entire body; all being the easiest to do, yet each 
having a distinct value in reaching muscles and making them ready 
for greater tests. We now are at the beginning of the second set; 
having a very pleasant and important exercise claiming our atten¬ 
tion. It is best done by acquiring that smoothness of action that 
admits of no jar. With the feet apart, say three-quarters of a yard, 
sway to the right and to the left, bending the knee to admit the 
slight lowering of the body in each direction, and save yourself 
from a sudden stopping by giving a spring of the least force, so as 
to catch the weight and reverse the direction. Herein the beauty 
of the movement is attained, and the pleasure is increased. 



Figure 2. 

IRON LEGS. SECOND SET. 




f , ; ; 

F#h- J 

-F- -*►•- 

I= « r -s,- It —1 

f-, i ^ n 

(§r mi * ■ *J 


L -r 

- M 

i~ t— 1 



i ; 

h-HMh 

s f 

h , r r 

Ml 

i g 

F : * 

\ -E—tE=l 

l: ^ t= b 


1 1- I- 

: * -_Lzrti-J 

E^—tzr-E=3 






































































































































































































































































294 


RALSTON CULTURE 


f 



Figure 11 Enlarged.— Explanation: This is much harder 
than the preceding movements in this exercise if properly per¬ 
formed. It requires that the weight he kept entirely on the strong 
foot and none of it placed on the other while the circle is being 
described. There are many variations possible with this action. 
In the first place, the music may be fast or slow. Then the circle 
may be to the right or to the left. The change from one foot to 
the other should be in counts of eight; thus, make eight circles with 
the right foot and then eight with the left, then eight with the 
right, and so on for thirty-two counts, unless the teacher decides 
that more are necessary in order to sufficiently tax the muscles. 
The greatest opportunity for variation is in the size of the circle to 
be described. If it is of small diameter, then the center of gravity 
is not drawn far from the other foot and the test of strength is not 
as great. As the circle is enlarged the effect is quickly felt by the 
strong foot, and the temptation to place part of the weight on the 
moving foot is increased. The circle should be a graceful and 
sweeping one, not quick, short and jerky. 





















Figure 11 


FOOT EXERCISE. 

One 

-fa—i 

two 

y, A J® 

three 

four 

1 

FIFTH SET. 

five 

—-ft-ft-n 

E5 — 4 —z^w—t=^v— 


. - 

—i - 

zg • 


v^LA 7T F ^ 

s : 


% 

S S 

k •: 

F p p 

= f -[- h- 

4 hh 

-f r 

-— —££f—S— - 

<£^ t= u 1 — 

=4= L L 

:t= U U 

4= u u 

- 1 —- 1 -j- 

JL - 




T L 1 — J 


six 



r > F 

> ' l _u* 


ii ^ ~ - m F - m F 1 

/ W r> i_| | i 

TOE 

i 

s* J f f i yprP p 9 F^p n 

1 FW m-+ m 

h” r~ 1— ffr^ 

i i 

-1 -1 

i i 

4 ,P* H Jr: ^ H P — r P r i i 

i wt w I ~ i t ^ w ■ i r r r n i 

) ! 2 

uk « —- 

j S-* i S- -S. S : 

[ /lift 4 * U ^ | | I 

r^ F F 

J K 

Fir F h 1 =1 

1 fJi v P 

F ii 

J i 

r r i i □ 

\=$—t=±—t—| 

H— 4 — 4 — 

W r 1 

3 t—t= 

=t= ^ 1 - {= h 





■ ^ ^ • 

F 


“l 

r -- fr —f-- -I 


i~\~f s* te F •*] J F 1 

xp. r l. f 



-F=- * 

i 

——I 

^ kJ F *1J F—^ -1 


[X'a' -cK-^ 1 Tf-J r~ 

“i i 

| 



-j- 


sr\ 1 y | 1 H 

i \rrr ^ ^ ^ W 



L 


L# 1> J 


s- -s- . *' 

1: 4- i S ti •«£■ -*£- 

1 7kV. k F -i— 

F 


F|- 

F l l 

tta. m 

1 (FM? P _P P 

. r l 


-1 - - 1— 

r l l 

^ . »F ^ 

\ V^l-i 1 1 1 lZL i . 

\ tr-1- 




i C l 


8 va. 



















































































































































































































296 


RALSTON CULTURE 



Figure 14 Enlarged.— Explanation: This is called the rock¬ 
ing action of the feet. It is easily performed, bnt soon shows its 
good qualities by wearying the muscles of the ankles and imparting 
great strength to them. It is best to commence all movements 
alike, if possible, and the pupils should perform the details simul¬ 
taneously. In this action the toes should carry the weight of the 
entire body on count one , and the heels may he raised slightly or 
very far up, as the pupils choose or the teacher directs. On count 
two the heels come down and the toes are raised on the same accent 
of the music. Here is a double action that should be done as one 
movement and not two. The raising of the toes brings the support 
upon the heels, where the base is limited; hence the poise is uncer¬ 
tain. To maintain it requires extra strength at the ankles. The 
rocking may be very gentle or very pronounced, as the pupil de¬ 
cides to make it; but it should he gentle at all times and smoothly 
performed. 


















Figure 14 


ANKLE EXERCISE. 

One two 

—u 


SECOND SET. 


one two 

!—4- 




ft Dolce. 


m 


& 


r^- 


4- 




:& 




1= 


fc=B 






£2= 


:&U 


:tz: 


ot: 


-£2- 




4—4- 


-0--1-!- r -I—Ur_ 




-4— 


! S 


:^2i 


-P2— 


— -& 


2$=t= 




—t= 




w/ 

J= 


#- -*- -»- -*- 

4 - 3 


jgEfcEE^EE 


4?L 


:=• £2 


E&= 


=&4 


i :£::£: £ £ 

^z=^ = -L=?zp4=fU?=F4~^=^=F4=^=! 

S$==i=t==t=^==tu4^t=4=E^=4u 

5 5 ^ 


^ ^ |—|—d>— 




-(^2-f-'&- 


'W— m -—U 
4=4=*: 


uU= 

^^-4- 


^2 jl 


: ^U=-f: 


-IS>- 




1 


: : «l.Mi:i8. <<, <<r .... 


qz*=r=£=F=l= 


s s ifcei || 

■j -i - . - i ' c i— n 































































































































































































































298 


RALSTON CULTURE 


Fig. 159. Chest Exercise. 



Figure 41 Enlarged.— Explanation: Here is another of those 
immensely valuable exercises that are capable of overcoming dis¬ 
ease in the most unexpected manner. The seat of life is in the 
chest. The present movement is the very best of all for increasing 
the vitality of the lungs, and that means the vigor of the whole 
body. The music should he specially adapted to the action, as it is 
of a double nature. On count one place the left hand on the chest, 
and strike the hack of that hand with the palm of the right on 
count two. Tapping the chest was always a valuable means of in¬ 
creasing its vitality, hut most pupils strike too hard. This enables 
one to accomplish the desired end, hut the blow cannot be too hard 
when dealt first to the back of the hand. The under hand may be 
made to travel over the entire chest surface; then go back again, 
using the right as the under hand. 














Figure 41 




CHEST EXERCISE. FIFTH SET. 

One two three four five six 





















































































































































































































300 


RALSTON CULTURE 



Figure 53 Enlarged. — Explanation: In this movement the 
tax on the arm muscles becomes greater than in any other of the 
series thus far given. It can he commenced either way, just as the 
teacher catches the accent, or as the musician develops it. One 
way is to raise the arms laterally as the attitude of preparation; 
and bring them down stiff against the sides by an outward swing 
on count one; see that the hands describe arcs of circles, otherwise 
the whole value of the exercise is lost. On count two raise them 
to the attitude of preparation. The other way is to begin with the 
hands at the sides and to raise them on count one and lower them 
on count two. This depends largely upon the way the music is 
played. The time should be quite slow until the action is learned, 
then it may he made faster; hut this is to he done gradually. Do 
not allow the muscles to become limp while the exercise is being 
performed. 





























ARM EXERCISE. 


Figure 53 


FIFTH SET, 















































































































































































302 


RALSTON CULTURE 



Figure 74 Enlarged.— Explanation: Eaise the arms fully to 
the front, the hands -being placed against each other. On counts 
one to seven gradually open the arms by separating the hands more 
and more until the arms are each back of the lateral position; then, 
on count eight, bring the hands together as speedily as possible. 
The distance traversed by the hands on seven counts is now re¬ 
traversed in one only. Yet that one should not be delayed in the 
slightest degree. It is better to try to make the return in less time 
than was employed in the seven steps of the opening action. The 
movement is pleasurable and is always fully enjoyed. It may he- 
done slowly at first by having the music retarded, and speed may¬ 
be added by playing the air in quicker time. 

































Figure 74 


RAPID EXERCISE. SECOND SET. 



































































































































































































































































304 


RALSTON CULTURE 



Figure- 92 Enlarged. — Explanation: This is the bell-ringer. 
It is exquisitely beautiful. There are several ways of performing 
the movement, and the music has much to do with the success of 
the action, as well as its enjoyment. On count one step right oblique 
forward, raising the hands to grasp the supposed hell-rope, and 
lifting the left foot close behind the ankle of the right. On count 
two step obliquely backward on the left foot, lift the right in front 
a few inches, and pull hard down on the rope. On count three re¬ 
peat the combined action of count onej four is the same as two. 
Allow eight counts for the right side and eight for the left, repeat¬ 
ing until thirty-two is reached. At the first practice it is well to 
keep both feet on the floor until the full rhythm of the action has 
been acquired; then the dainty lifting of the feet adds to the artistic 
value of the exercise. 













Figure 92. 


THE ARTISANS. 

One 


SECOND SET. 


two 


three 


gn 






:^=q==^=: 




b# 


S-s 




-JE S 


—i 


i 


=t 





: £— izZ^ZZ^ZZInZI^— _« p « — -ai- ~j — 

9 |»=cz^r-jE3- : 


V 


-r3- 


II 


jex: 




& 


m 


iS-f f S|P-; ' II 


— —©•- 























































































































































































































306 


RALSTON CULTURE 



Figure 15 Enlarged.— Explanation: The present movement 
is very interesting and beneficial. There are several ways of using 
it. For mere pleasure we would suggest that the pupil should go 
to the right on eight counts, then to the left on as many more, 
bringing the feet back to the place of beginning. On count one 
move the heels to the right; on count two move the toes to the 
right; on count three move the heels to the right; on count four , 
the toes to the right; and the eighth count will end with the toes 
to the right. On returning it will be necessary to move the toes 
to the left on the ninth count; the heels to the left on the tenth, 
and so on to the end. In one method the feet may be close to¬ 
gether, in another, the length of movement of the toes may be 
slight; in another, the feet may be separated as much as you choose; 
in another, the action may be larger, and the distance will be 
greater from count one to count eight. Then the pupils may go 
around the hall, all in one circle, in which case count one should 
move the toes and count two the heels. 



























Figure 15 




































































































































































































































































































308 


RALSTON CULTURE 



Figure 39 Enlarged .—Explanation: This is a particularly 
important movement, and is designed to strengthen the upper side 
muscles of the chest. We call it the wing exercise in class. There 
are many interesting variations which may he considered. On count 
one raise the right elbow; on count two lower it and continue for 
eight, on count nine raise the left elbow; on ten lower it; and con¬ 
tinue for eight; on count seventeen raise the right elbow; on eighteen 
raise the left and lower the right; on nineteen raise the right and 
lower the left and continue for eight; on twenty-five raise both, then 
lowei them on the next count, and so finish. Occasionally perform 
the fuH exercise with the lungs filled with air and the breath held, 
always stopping as soon as you become dizzy. 























Figure 39 


THIRD SET, 


CHEST EXERCISE. 


















































































































































































310 


RALSTON CULTURE 



Figure 45 Enlarged. — Explanation: Now comes a very hard 
movement. It must be remembered that each exercise in the Ral¬ 
ston System has some definite purpose; not merely the general end 
of producing the best of health; but a specific design with relation 
to the development of a certain set of muscles. The action of 
Figure 45 is the best known for reaching the muscles of the back 
behind and at the shoulders. To commence it let the arms hang at 
the sides at full length. On count one raise the arms in such a 
way as to produce right angles at the elbows, the hands being ele¬ 
vated; on count two lower the forearms only, still preserving the 
right-angled shape. This is done by turning the forearms over, 
using the muscles at the shoulders for the change. The severity 
of the exercise is surprising, but it soon makes a person thick-set 
and solid at the shoulders and upper back. 

















THIRD SET. 


SHOULDER EXERCISE. 

One two 


Figure 45. 

three four 



-w=m- 


SE 


=*=£= 


- r -^^- r^—>~ 


IPEI 


r ~-£ t i 


-it 


=!=»*=**: 


-PL -P- 

—»— m~ 


I 




I 


e £ i. 


tr 

Jc. 


r'Pi**f mj. jis.ii 




ff 


ifc :=4 


=lP : 


Ip 

S: 


W 


=!= 


^^ 


t=*: 


5 


—Mzaa 


/ 



9 - v -ar -v— | 

r~P- 1 

V P 


r 

: m. m ~ w. 

y 

li e !? d* 1 

h* 

* r 

ip* 0 


^ f- m 


r 4 

* * 


£ i 


3 


¥ * 


s s 


















































































































































































































312 


RALSTON CULTURE 



Figuke 51 Enlaeged.— Explanation: This is the third of the 
arm movements. It is much more taxing than the other two that 
precede it in this series, although not as quick to weary the muscles. 
It can he done with the open hands at first, hut the clinched fists 
give the arms greater vigor. It is of the utmost importance that 
the muscles he firmly tensed all the while. On count one swing 
the stiff arms from a lateral to a front position* hut each arm must 
stop suddenly in front of the shoulder, and should not touch the 
other arm. When the sudden stop is made, it should he solid so as 
to keep the fists as far apart as the shoulders are. It is this power 
of checking a quick, strong movement that gives strength to the 
muscles. On count two move the stiff arms to a lateral position 
and stop as suddenly. Continue for thirty-two counts. 


















Figure 51 


THIRD SET. 


ARM EXERCISE. 

One two one two 























































































































































































































314 


RALSTON CULTURE 



Figure 57 Enlarged. — Explanation: The movements in the 
hand series now grow more severe and more important. Figure 159 
combines the arm muscles largely with those of the hand, hut only 
to aid the latter by a new use, one that is rarely met with in exer¬ 
cise. The fingers should be hooked together; and, through all the 
practice, the elbows must seek to break the hold of the fingers by 
a strong and continued outward pulling. It is a good exercise for 
the arm, hut a far better one for the hands. Make the pulling as 
strong as you can. On count one bring the hands to the chest; on 
count two extend them forward as much as the length of the arms 
will allow. You will then see the peculiar power of the exercise. 
Do not forget to keep up the constant lateral effort of the elbows 
to pull the hands apart. Go to all parts of the chest on the odd 
numbered counts. 


















Figure 57 


THIRD SET, 



















































































































































































































316 


RALSTON CULTURE 


Fig. 223. Eapid Exercise. 



Figure 75 Enlarged.— Explanation: Experience in teaching 
this exercise indicates that the action should not be given at first 
in double form, or with two movements to one count, as is sug¬ 
gested in Figure 75. On count one throw the arms out to the sides, 
the hands being on a line with the hips. On count two throw 
them about the lower chest, crossing them in so doing. When 
this has been done for thirty-two counts, the double movement may 
be tried. On count one throw the arms out and then in and about 
the chest; on count two throw them out and in likewise; and so on 
for sixteen counts. This requires much speed, and is very exhil¬ 
arating and invigorating if the breath be held part of the time. 
There is additional advantage in maintaining a fully extended 
chest during the whole exercise. 



















Figure 75 


THIRD SET. 


RAPID EXERCISE. 











































































































































































































318 


RALSTON CULTURE 



Figure 99 Enlarged.—E xplanation: This is the pleasant 
occupation of attempting to push over an invisible wall. It is of 
unusual value in its effect upon the muscles, by reason of the spe¬ 
cial use made of them. On count one extend the arms in front, the 
hands being almost at right angles with them, and push forward 
with energy. On count two relax all the muscles. This is the 
easiest method of practicing the exercise. The hands should be 
at the sides as a preparation, raised on count one , and brought as;ain 
to the sides on count two. The feet may remain one in front of the 
other, the left acting as the pushing foot and the right advanced 
with the knee bent. On count two return the advanced foot to the 
side of that which was retired. After eight counts reverse to the 
other side. 







IMITATION EXERCISE. 


Figure 99 


THIRD SET. 























































































































































































320 


RALSTON CULTURE 



Figuke 16 Enlakged.— Explanation: This is a striking move¬ 
ment. To begin it place the left foot in front of the right, so that 
the toes of the latter will cross the heel to the left of the left foot. 
On count one the ankle or lower half of the right leg will strike 
the left leg from behind. On connt two the right leg will rise on 
the toes of its foot, using the latter for leverage, and pry the left 
foot forward several inches. On count three the blow will be 
repeated, and on count four it will he followed by the prying ac¬ 
tion. So continue for eight counts. Then, on count nine, let the 
left foot strike the right a blow; on count ten the left foot will pry 
the right backward; on count eleven it will strike another blow; 
and so on until the starting position has been reached. Uow comes 
an important change. On count seventeen the left foot is to swing 
around behind the right and strike it a forward blow; then the next 
count will pry the right foot forward, and the same movements 
will be repeated until the thirty-second count has been reached. 





Figure 16. 


ANKLE EXERCISE. FOURTH SET. 


rPTT 5 — 



J .i 


/ /r u i) 

) ^ 1 ) j 

- m • r m. m . & 



ZJ ^ 


1 frt\ ^ o 



at -4 

J t 

m * 


1 —n—i 

| • “ 9 P V 

—! 1t u: 


9 ■ w 

m i 

9 

1 

/ -« -«- -ft- -e- -ft- 

9 »- 9 *- ~S 

V 

V t n 

i ^—r^ r 

^ 1 «^ii 


f p 

m m 


i rrx« , tt ,■ 

^ I r T 1 

r i 





l U q 

mmL '| [ 

-) \z { r j 


. J 

I L 


\ ^ iS 5 



1 1 - m 

































































































































































322 


RALSTON CULTURE 



Figure 34 Enlarged. — Explanation: This is a very interest¬ 
ing as well as beneficial action, provided all the requirements are 
strictly observed. The heels should he together, toes out; the 
calves of the legs should touch, and be held firmly against each 
other; there must be no twisting of the lower half of the body, for 
the tax would then be removed entirely from the waist and placed 
at the ankles without benefit to them. Imagine that the legs are 
pinioned together and held in a vice, so they cannot move. On 
count one swing the extended arms around to the right On count 
two they should swing to the left. Keep the arms well back so as 
to make them as one long pole, and do not lower them from a posi¬ 
tion parallel with the floor. See that the waist gets all the tax. A 
pleasant way of performing the exercise is to commence with short 
movements to the right and left, and gradually increase their ex- 



















Figure 34 





















































































































































































324 


RALSTON CULTURE 



Figure 40 Enlarged. — Explanation: This excellent movement 
is known by onr classes as the Perpendicular Drill, and is one of 
the most effective ever invented- Nothing like it was ever known 
until it was used by the Ralston System, for which it was specially 
prepared. It is as different from the calisthenic movement, which 
it seems to resemble, as day is from night. This action requires that 
the hand be clinched, energized and kept under the arm. On count 
one the fist is to be brought up so as to strike the under part of the 
arm at the arm-pit, not in front but under. This is very difficult. 
On count two throw the fist downward in a straight line; continue 
for eight. On nine raise the left fist under the left arm, striking 
hard; then lower it on ten and continue; on seventeen raise the right 
fist; on eighteen raise the left and lower the right; on tiventy-four 
raise both, and continue to thirty-two. 



























CHEST EXERCISE. 


Figure 40 


FOURTH SET- 


One two one two 



- 0 - 0 - 

- 1 - (- 

- r 

—- 0 — 



f -* c 

* t 

* \ L 

—y —i— 

—i— 

* 

—j?-*—?-p— 

L r * r v 

{ 

1 1 

8 # s A- 



\f§*$ 3 

y u 

tz= t=- 

* t= 

- 1 - 

3 . r± i 

— O-'- -j-s 














































































































































































326 


RALSTON CULTURE 





Figure 46 Enlarged.— Explanation: The tasks grow harder 
as we proceed. The above exercise will eat up any surplus fat at 
the shoulders and upper parts of the torso; yet will add flesh where 
that is lacking. You know that fat is not flesh; it is not the result 
of nutrition hut of stagnation, and should be thrown off when over¬ 
accumulated. On the other hand, flesh is the result of nutrition, 
and is really nutrition in itself. Thus the same exercise may re¬ 
duce the weight of one person by eliminating the fat, and may in¬ 
crease the weight of another by adding flesh. In the above move¬ 
ment raise the hands over the head as high as possible, with the fists 
clinched. On count one bring them down in a wide, sweeping semi¬ 
circle, striking the sides of the hips; on count two return them to 
the high altitude, striking the fists together over the top of the 
head. 






















FOURTH SET, 


Figure 46. 


SHOULDER EXERCISE. 

One two one two one two one two 

































































































































































































328 


RALSTON CULTURE 



Fig. 212 . Whole Body Exercise. 


Figuee 72 Enlaeged .—Explanation: This is called the Turk¬ 
ish Salute. It is the acme of difficulty as a whole body exercise, 
and few persons do it well. It may he commenced from the mili¬ 
tary position as well as from a fixed attitude if a person is quick 
and flexible in the muscles. In such case the following details must 
all he performed as count one: Extend both hands at the sides and 
commence to move them backward in such a way that, when back, 
the palms will face toward the floor; place the right knee behind 
the left knee, so as to brace the support by the close position of the 
legs; bend the torso and neck as in bowing. On count two the torso 
should descend fully eight or ten inches at the shoulders; on three , 
as much more; and on four the back should be level. The next 
four counts will serve to bring the body gradually up to an erect 
attitude. The difficulty of the exercise is in the lack of a strong 
bracing of the legs. The right knee should be held hard against 
the left at the back of the latter. After the eight counts, let the 
action be reversed by placing the left knee behind the right, and 

SO On. |j ; ,r ij j 












Figure 72. 


SIXTH SET, 




WHOLE BODY EXERCISE. 




8 va 


























































































































































































330 


RALSTON CULTURE 



Figure 94 Enlarged. — Explanation: Here we are engaged in 
the act of mowing. It makes no difference whether or not we re¬ 
produce the skill of the farmer of the olden days, for young ladies 
and gentlemen of the city are not presumed to be qualified for field 
work. On count one swing your imaginary scythe to the right 
backward position, as though in the act of getting ready. On count 
two come forward in a large curving sweep, stooping as you cut the 
grass, so as to carry the scythe on a line parallel with the ground. 
It is better to step backward with the right foot on count one , and 
forward with it on count two. At the end of eight counts reverse. 
This should be done very artistically, and requires that the left foot 
remain in its position for count nine, as it will be found ready 
there at count eight; and that the hands be swung to the left ob¬ 
lique backward on the same count nine. 














Figure 94 


THE ARTISANS. 


FOURTH SET. 


3 






m 


ft 


s s _ s « 

^Ertrrtr- 


-»--»- 


=t= 


. J S * * , 


£ 


^1——U: 


•—* 


. * . 




* 




~~ f~ . ~ t~- 




=fe=fc 


it 


p -r:! '— l_— 


3tzz4 


• # L - 1 


g 


v 3 - 


, ~y~ ~y~ | - ~y~ —*— -*- _ -p- - 

F h—■—i-F—|-—i-F 1-1— 


M 


if--» - c -*- • 1 - L m —«- 


«—-*--F -m — m —1 


-H#-»- 


«** 


M * 8 r m -■*---flL 

-F-1-1-—F-1-1- 

ZZlE*—FJ”^=Z^= 


-4--1-1- 























































































































































































































































332 


RALSTON CULTURE 





Fig. 282 . Imitation. 


Figure 100 Enlarged. — Explanation: This is an excellent 
change from the pushing movement. It involves the stretching 
action, and must not be confounded with that of pulling. In the 
latter the direction is backward in a straight line. In stretching, 
the action is chiefly lateral. On count one advance the right foot 
to the front and grasp the supposed elastic string; on count two 
extend the arms as widely apart as you can while stepping back¬ 
ward on the right foot; on count three advance to the first position, 
bringing the hands together. The maid action is on the even-num¬ 
bered counts two, four , six and eight. The arms should be 
strongly tensed as the outward pulling occurs, as though the elastic 
cord were almost too strong for the effort. After eight counts, 
reverse the standing position and continue for eight more, and so 
on for thirty-two. 

































Figure 100. 


IMITATION EXERCISE. FOURTH SET. 

One two one two 














































































































































334 


RALSTON CULTURE 


Fig. 153. Waist Exercise. 



Figure 35 Enlarged.— Explanation: This is a beautiful 
action when performed by a class in unison. Most teachers wish to 
present their classes to the public, and there are no better exercises 
than those which occur in the series of the knee, in this of the 
waist, and in others where the arms aid in giving picturesqueness 
to the work. The fault of an exercise of this kind is in the in¬ 
ability of the pupil to hinge the body's bending at the waist. Be¬ 
fore commencing the practice it is well to place the hands hard 
against the sides, above the hip hones, and press in to see that the 
bending occurs there. The arms should form a walking-beam in 
their action, and must he kept perfectly straight even when they 
are made to tip. The exercise should commence easily and gradu¬ 
ally increase until the bending may be sufficient in time to permit 
the arms to assume a vertical attitude. 



















Figure 35. 

WAIST EXERCISE. 

One two one two 


FIFTH SET. 
































































































































































































































336 


RALSTON CULTURE 



Figure 42 Enlarged.— Explanation: This is an interesting 
and beautiful exercise as well as one that is of decided value in seek¬ 
ing health or strength. To commence it, take the usual standing 
position and raise the clinched fists to the upper chest. On count 
one describe a semicircle with the fists by causing them to descend 
and depart outwardly from the body as they are raised to a new 
position on a level with the shoulders. All this constitutes count 
one. On count two allow the fists to again traverse the path of the 
semicircle and be brought up to their first position on the upper 
front chest. Count three will be the repetition of count one, and so 
continue until thirty-two is reached. It is a series of swinging 
movements. They strengthen the muscles of the chest and give 
vigor to the lungs. 
























Figure 42. 


SIXTH SET. 


CHEST EXEBCISE. 








































































































































338 


RALSTON CULTURE 



Figure 47 Enlarged.— Explanation: This action is called 
plucking grapes. They are situated rather high, and can be 
reached only by a long stretch of the arm, body and feet. This 
complicated movement requires music that is specially adapted to 
the details of the action. On count one rise as high as possible on 
the tips of the toes and raise the right hand as though to take a 
bunch of grapes. The music will furnish an opportunity for mak¬ 
ing a special effort as though to leap. This requires a stretching 
of the arm; the shoulder muscles are taxed to the utmost without 
strain, and the contiguous muscles are likewise called into action 
over the front and hack of the upper torso. Allow the main effort 
of reaching to he made with the arm so that it will involve the 
shoulder as much as possible. The left shoulder should he like¬ 
wise employed, then both alternately. 





Figure 47 


t 

SHOULDER EXERCISE. 


FIFTH SET. 










































































































































































































































340 


RALSTON CULTURE 



Figure 59 Enlarged.— Explanation: Raise the left hand, not 
above the shoulder, but out from it on a high elevation. Lower the 
right hand so as to form two obliques, an upper and lower one. 
Each arm must reverse its position; the left arm coming down to 
the lower left side, but. ext ended out; and the right arm coming 
up to the upper right altitude. Each hand describes a semicircle, 
or the larger part of one. The purpose is to cause the hands, palms 
and fingers also, to strike each other as they pass. This differs ma¬ 
terially from a direct blow of two hands coming against each other. 
Here there can be no severe blow, as the action is such as to prevent 
it. The strongest effort will only result in the surfaces skimming 
past each other. 
















HAND EXERCISE, 


Figure 59 


FIFTH SET. 



/i^ - L ■ - 

ZT2=r- 



: —-q 

[M- -- 

-j- 

[ 

:=!. =1 

;* 

E^ t -J 

j *2'- «£ 

-Jt: JH~ 

p» * * 

— 1— ^ 

M S 1 

H % % 

r_: 1 1-1 

\ — 1- - -'- 



gr^Ft-R^ 

t—£=3 



~ — m — f=- 

• - 

» -P- t 

f- L 

42-* 

F- 1 - - q 

-T- 

\W Sr- ~ 

l=[z —iz -fcj 


:-1 

F ~ A 

\ 



-P- 

-P- -P- 

m ^f-L 

|—1 ' *» 

—-j-1-1- 

r—1 * * , 

P *- id 


Rf= tz t= 3 






















































































































































































































































342 


RALSTON CULTURE 



Figure 71 Enlarged.— Explanation: On count one let the 
body down upon the right knee in a lateral direction; not forward 
or backward. On count two place the right hand on the floor so as 
to support the weight of the torso at least on that arm; on count 
three rise to the kneeling position; on four , stand on the feet; on 
five, kneel laterally on the left knee, and repeat as before. Reverse 
at every four counts. When the weight of the torso is supported 
by the*hand resting on the floor, the arm on the other side of the 
body should he elevated as high as possible. Every act of kneel¬ 
ing should he graceful and in perfect poise; hut this is rarely seen. 
There is always a free foot in every action or movement that in¬ 
volves stepping, walking or kneeling, and no weight should he per¬ 
mitted on the free foot until it is ready to receive it. Herein is the 
secret of ease and grace. 

























Figure 71. 


WHOLE BODY EXERCISE. 

One two three four 

> 

> > > | 

J i“ _ l l . 

FIFTH SET. 

five six 

> 

=7 J r 3 

r “ctt?. _] zrzzz z: zz— zz zz ~r Z2 eh r □ z~z 3 ^_rz3 


^ Z--■ 

L -4pj -r-^H Ik^——) - 

irrr tzz 2 2 S w m rn m 

-2 2 ^ 

m .3 .j i z* 

1 VsO • m m 



\tt r 

P 

) -P-- -p_.p_8p: -P- awg: •; :g: 

-pp- l - 'J' *fr I S 

/yr«ff , L m mm w- W 

r_ f=^ 

r L r r l. l z 

fftlrSTT 1 1 1 1 , 

l* 

^1 I 

i = fci |= Lit (= |= 

E E 1 

t „.i - ™ ! 


seven 


eight 


$ 


a 




n 


«- 


-& - 


fr fla f 1 


H 


% * * 


jt $*- 


m 




y-f-ff—j--r-p—1-r*^- 

nJ 

| 


1 -j -f-i -1 =r=i 3 

/ 7 I - 1 1* 1 > j ■ 





. n 2 J* 2 s 




is s s «r p^ PPlj 

■ rcTT —' w w w w ^ 1 —i t * ' ' _l 

\ -P- -g 

) .#. 8 ** 8 8 I i , 


P 

^ .p. _p. Jtp. p_ 

1 z«y* tt p ri'--' , 1 

■ T- i ^ 

1 

Ip p.. p..P. .... *T 

\ Z" BP^ h- tz 1 



r r r z r 

\ ^7 - rz 3 3 1 L_ _ _ _ 


-j-« 

1 l 

1-- 


fc=t ==i 


SEEM 


S S 


-I- 


~m --p 


* . m m ■> 




f 




(Bpbzzp-it 


=t= 


flf 


Ml 


51 


pi 






-is-: 




.-g- 


s«i. -*• ^ A. « i» J: g::*: :.*: 


* it 




J 


9 


e*f= 




:^2: 


==t=^: 




















































































































































344 


RALSTON CULTURE 



Fig. 225. Rapid Exercise. 


Figure 77 Enlarged. — Explanation: On count one strike 
backward with, the right elbow, and on count two strike backward 
with the left elbow; repeat for thirty-two counts. Unless the high¬ 
est speed is reached, the exercise will be merely a shoulder move¬ 
ment. The addition of rapidity changes its nature and its value. 
For systematic practice the following is preferable: On counts one 
to eight use the right arm only; on counts nine to sixteen use the 
left arm; on counts seventeen to twenty-four use both alternately; 
and on counts twenty-five to thirty-two use both arms together. 
The time may be doubled by increase in the time of the music, or 
by rendering two movements to one accent. All the while the 
muscles should be firmly tensed. 





















Figure 77. 


RAPID EXERCISE. 


FIFTH SET. 




0 8 0 8 r SSrm 


u-u- 




8 


ts- 


■m—-- 


--0 m 0 m 


* L - • ::\0 8 8 8 [10 0 : r * 


/ 


SSJ T* * 




:t= 


<? :5 


0—r* 


TO 

±= z = Li^z =± 


tt 




ifc=*==*=| 


?=p* 


it 




=t^= 


































































































































































































































346 


RALSTON CULTURE 



Figure 96 Enlarged.— Explanation: This is a peculiar as 
well as an interesting action, and is quite beneficial to one who is 
able to do it after mastering the exercises that precede. The ques¬ 
tion arises whether the right hand shall grasp the end of the handle 
or the middle of the handle. Some claim the former to he right, 
others believe in the latter method. Most laborers who are right- 
handed take the end of the handle in the right hand; some who are 
right-handed reverse this. On count one stoop and fill the shovel; 
on count two rise and throw the contents. The place of digging 
may be directly in front of the feet, and the heap to be made can 
be placed to the left side, several feet ahead. After eight counts, 
reverse and use the other side. 




Figure 96 


THE ARTISANS. 

One 


two 


three 


SIXTH SET. 


~F~ » F — _ F 

/£*# r -L L ££ P 

£ 

r; — F-~ - »-» r p- P - 

e hr h- H --I- 

t= F ■; 

b P q 

(£J- 4- — 

1 ^ 

Uf-H l -1 1 

- ' r t= . r-— !-!- 1 - 1 - 1 

it ij: i£: 

E-n-F-P~F = — &- 

- 1 -1 

^-±r- 

J 


four five 

-F- -F- F 




±: 


s 


§EF=P : 






1= 


* *: 


±- I- 


fcfc 


£ 




-f- 


i 






< i 


t-S 


-£-f i 


3=fc± 






*2 *£ 




JE- S 

-t-H 


-s-^P-s* 


Str—t 


F-^p- 

:t= 


P=F- 


:SP=f=^=^i?F: 


H9- 


£-4 




4* * 


i S 


=F=p: 


«£ -P- 

=t=l= : 


-£-4 


1 
















































































































































































































348 


RALSTON CULTURE 



Figure 18 Enlarged. — Explanation: This ought to be associ¬ 
ated with the light step movements, but its great value in imparting 
strength to the ankles makes it a more important exercise in this 
connection. It is by far the hardest of the ankle series. Seem- 
ingly it is like Figure 17, but its action proves quite different. The 
main characteristic is in the raising of the heels as they are turned 
out on the second, fourth and all even-numbered counts. At no 
time should the heels touch the floor. In the early practice it is 
best to raise them but slightly, and turn them out as little as pos¬ 
sible while keeping a distinct action. Later on turn the heels out 
more and more, and raise them higher and higher, until, finally, 
the whole body is on the jump. You will catch the spirit of the 
music, but the sensation is so pleasurable that you will overtax your 
strength before you know it, as is too often the case in the ball¬ 
room. ji 




























Figure 18 



















































































































































350 


RALSTON CULTURE 



Fig. 154. Waist Exercise. 


Figure 36 Enlarged.— Explanation: This is the most telling 
of all the movements in the waist series, and may well suit the 
powers of an athlete. Like every final exercise in a series, it is 
especially hard and valuable. If a person were to seek this line 
of training chiefly to acquire great strength, the finals could he 
classed together as the most powerful known to legitimate physical 
culture. By this we mean a system of exercises that cannot strain, 
yet are able to produce the greatest strength. In the above move¬ 
ment it requires flexibility at the waist to bring the forehead to the 
knee. This is count one. On tzvo the torso is bent backward and 
the arms extended behind the body, the farther hack the torso is 
thrown the more severe will he the tax on the muscles of the waist. 
This is the only exercise ever introduced that compels the waist 
muscles to yield in the forward action; the hips cannot interfere. 






WAIST EXERCISE. 

One two 


Figure 36 


one 


SIXTH SET. 

two 


One two 

/ z=£p: z^TEirsSo 


one two one two 

r ~s£lg- 

(fen-e -?—J= 

zfcM 

*£— 

3=^ e : 

t- - 

N 

p ^j= * 

i 11 i= 



1 1 

1-| |- 

£^F ~CTj * B--| 

q 

. # *• # r^g-f- p r 5 —f 

r :j 


Z* j E , y^— 6*—b~ —t 


t/ — -JL 

/ m- ; jf-!-V- 

5^- “ 

... i f j *; 

i 4 ... £l^ 

1 ^_=5?l J ta- 

- m -F-•*!-i—■- 

4- r f - 

'^-£—!---*-i- a -1=-=1=—'-— r* ^ r-1-: 

-r •— L -* -+ - L - 1 -J 

m -p- * ^ ~F~ * -F- • /< ^-F- • j. 

/“IT, k* 1 — m -b*~l-r^r-S#-F—t—fl#—=—---— 

1 ZI5-P* &■*—DP—-bb*- b E=*t t t-"b- -i 

: y * rr= m • . iT~ y:— 

l IU-1-----r i m tnwm l * 1 <• . “—- W_ ~ - 

l w b L tC h Ef—]— k*-j— k*~i- 

L-t S I v 

-# - -F- • 

, -+m- : 


f 4 

fe£-—P-F-F-» 


j==- p- S-^- 


=£-—F-—p gUg 1 

1 -1 -h p- 







(i 


ms* 


m -W—' 

»-fz- fztz 


fz- 




rh- 






I 


















































































































































352 


RALSTON CULTURE 



Figure 54 Enlarged.— Explanation: The use of a spiral 
movement is the strongest means of developing the arms, provided 
all the preceding exercises in this series have been well mastered. 
Very few arms are over fat; those that are limp and flabby are lack¬ 
ing in beauty and will sooner or later show age by wrinkles or in 
other ways. A spiral action is a unique invention designed to give 
the muscles a twist while the arm is passing through a complica¬ 
tion of evolutions. There are several lighter spiral exercises, but 
the one presented herein is the best and heaviest known. On count 
one cause the tightly clinched fists to descend in front of the body; 
on count two carry them out and around, up, over, down to the 
chest, and there describe a small but perfect circle. This is a good 
deal of work for count two , but it is done quickly. Count three is 
the same as one. The pupil will so enjoy the exercise as to get tired 
and not know it. Hence the benefit. 
























Figure 54 






































































































































































































354 


RALSTON CULTURE 



Fig. 178. Hand Exercise. 


Figure 60 Enlarged.— Explanation: When the hands axe 
cold the quickest way to warm them is to perform the movements 
of Figure 162. It is, however, not possible to obtain warmth either 
in the hands or feet unless there is a sufficient supply of nutritious 
food in the system. To eat a light breakfast is sure to leave the 
blood weak for the whole day. The furnace needs its fuel in ad¬ 
vance of use, not when it is getting ready to rest. Music is of the 
highest importance in developing the vim and spirit of an exercise. 
On count one strike the hands in front of the body; on count two> 
at the hack, or behind the body; keeping the arms straight and 
stiff, so as to throw the energy into the hands. At first the move¬ 
ment should he as slight as can he conveniently made; then permit, 
it to he enlarged, and add force to the blow at the same time. 



Figure 60. 

HAND EXERCISE. SIXTH SET. 






















































































































































































































356 


RALSTON CULTURE 



Figure 78 Enlarged.— Explanation: This is the most enjoy¬ 
able of the speed exercises, and becomes still more interesting by 
allowing the musician to increase the time of the mnsic. It is an 
apparent attempt to take a big jump, with no prospect of realizing 
the expectation. On count one the fists are brought down from 
their raised position over the head to the lower attitude behind the 
knees. The latter are to be kept bent or in a flexible condition 
ready to spring. On count two raise the hands to the head just 
above the forehead, and lean back a few inches with the impulse of 
the music. Soon the knees, hips, torso and general body will be in 
a rocking mood, while the arms are passing rapidly from one ele¬ 
vation to the other, making constant preparations for imaginary 
jumps. 





















Figure 78 


RAPID EXERCISE. 


SIXTH SET. 









I S 


? —S—S 




I 



-Wfc# -r-H -V-V 

[d--K”r- 

_)- 1 

—PI 

a cl s j 

K J K J 

r- i ' 1 " — 

(£1 \L 


** h: :1 ^ • a 

II 

W ^ ? s * 

1 L W J 

-1- m. -l-i 

f • s 

—l-l 


/ 


55a - fl f E — 

• 

l 

• » s 

S 

H 1 

5 

%-T 

‘P~~—P n 

\ £2l\* L * 

pu. - - 

p> 

±i |e 

*.. . . 


r, p. 

cr ■ 

P • p - |! 

\ S 2 _u r_ 



j. r r 


S 

> r 


II 

-£—j*.-^—| 

1-1 

V— 

f " - 

>1—J 




































































































































































358 


RALSTON CULTURE 



Figure 84 Enlarged.— Explanation: Here comes the rocking 
run made famous through the Ralston System. There is a fascina¬ 
tion about it that is not hard to explain when it is once witnessed 
properly performed. Yet it is a severe test of a strong heart. We 
advise all persons of weak hearts to let it alone until a year or more 
of time has been devoted to the preceding light steps. Stand on 
the right foot, with the head down in front and the left foot raised 
behind, and on counts one and two give two jumps on the right 
foot. Then shift the carriage of the body so that the chest faces 
the ceiling above; put all the weight on the left foot, while the 
right is raised in front; and on counts three and four give two 
jumps on the left foot. The lower down the head is carried on 
counts one and two, and the farther back it is carried on three and 
four, the greater the effect and results. 













Figure 84. 

LIGHT STEP EXERCISE. SIXTH SET. 

























































































































































































360 


RALSTON CULTURE 



Figure 102 Enlarged.— Explanation: This is a representa¬ 
tion of pulling, and it may be performed in a number of ways. On 
count one pull straight backward; on count two relax and take an 
ordinary standing attitude; on count three pull backward again; 
and so continue for thirty-two counts. The pulling may be done 
by the stiff arms unbent at the elbow; in which case the body would 
do the backing and pulling by a step of the foot. It may be done 
by the arms bending and the body remaining still, or it may be done 
by the arms bending and the body moving backward, in which 
case the distance would be greater. All these are important varia¬ 
tions of one principle in muscular development. The aims should 
be energized and the torso be made to exert much strength even to 
the waist muscles. 






















Figure 102 


IMITATION EXERCISE. SIXTH SET. 

























































































































































































362 


RALSTON CULTURE 


END or THE ENTERTAINMENT COURSE. 


The forty-two selected exercises that are given on the 
pages immediately preceding constitute the very best course of 
pleasurable diversion that can he devised by any human being for 
the passing of a happy hour. They are better than dancing, for 
they leave nothing hut exhilaration in place of weariness. A person 
may work hard all day, and come to this Ralston entertainment in 
the evening and go away rested. This seeming paradox is easily 
proved true. Life is activity. To live is to act, not slumber. The 
man or woman who lounges about all day is far more tired than the 
one who toils and labors. A wearied woman says, “I have had all 
the exercise I need, for I work hard enough, goodness knows; and 
I am too tired to indulge in any physical training.” Yet she is 
induced to relieve those weary muscles by establishing a balance in 
her body by the exhilaration of others; so she comes to the Ralston 
entertainment, practices, enjoys herself, and goes away exclaiming, 
“My! I never felt better in my life. What a change! I went to the 
meeting with every hone in my body aching, and here I am as 
rested as if I had been asleep all night.” On the other hand, the 
inactive woman says, “I am not used to exercise of any kind. I 
cannot endure it. I am too weak.” She goes to the Ralston enter¬ 
tainment, and comes home refreshed. In a few more meetings she 
is no longer weak; her strength is returning because she is using 
the faculties of life; she is living. 

Rests between exercises are of the greatest importance. 
The art of hurrying to place and back again to the chair should be 
perfected. Teach the participants not to step on the heels with 
any weight, but to carry the body on the balls of the feet. This 
prevents jarring or straining the spine and nerves. Let one or two 
movements be practiced, and then have a rest follow. Our plan is 
to give the entertainers one figure for two minutes, then to allow 
them to sit for twenty seconds; and so continue for the full session. 
This prevents exercising long enough to get tired, and does not 
give time for catching cold. A clumsy teacher keeps the figure 
going until everybody is tired, then allows a long rest to follow, 
thus doing a double injury. Weariness attracts a cold. 



FOURTH DEPARTMENT. 


Public School Course 

IN 

Ralston Physical Culture. 


This is a brief course of the most valuable exercises 
selected solely for hygienic purposes. It requires just time enough 
on each occasion to enable the full series to he performed in fifteen 
minutes. As compared with the preceding courses in the length of 
time required to properly learn the movements, it is well to state 
that the Scientific Course, consisting of all the system of 102 exer¬ 
cises, cannot he learned in less than six weeks, and the time re¬ 
quired to master them is indefinite. One may improve for many 
months and years in this line of development. In the Entertain¬ 
ment Course it is possible to learn the exercises in six hours, devot¬ 
ing one session at a time to seven of them; but, after they are 
learned and thoroughly understood, it is not policy to use over two 
sets in one entertainment, which would allow fourteen different 
exercises. These should be repeated, with rests, as long as the in¬ 
terest is maintained. 

The public school course is a very brief set of move¬ 
ments designed to occupy fifteen minutes, during which no rest is 
needed, as the pupils are supposed to sit or he inactive most of the 
time otherwise. We have selected the ten best exercises for pur¬ 
poses of health alone, not of amusement or entertainment; although 
they are culled from the latter course. The musical airs are placed 
in the order of use in the group, so that the musician may pass 
from one to the other without loss of time consumed in hunting 
through the hook for the proper pages. 

The right to use this book is confined to a public school 
teacher who is a tenth degree Star Ralstonite; and the right to use 
the music is confined to one who is likewise of such degree. If 
objection be made to this rule, it may be said that it is our purpose 
to have every intelligent man, woman, young man and young 
woman become a tenth degree Star Ralstonite. 

( 363 ) 




364 


RALSTON CULTURE 



Fig. 103. Iron Legs. 


Figure 1 Enlarged.— Explanation: The purpose of these ex¬ 
tended descriptions of the exercises is to make clear to the student 
of this course the finest details of action connected with the move¬ 
ments. It was proper that a whole series should appear together 
on a single page, so that the eye might discern and compare the 
different phases of the system as far as it applies to each part of 
the body. Here a whole page is devoted to a single exercise which 
is seen in enlarged form, and is followed by a clearer explanation 
than can he crowded into a small space. The music is then placed 
directly opposite for the greatest convenience to teacher and musi¬ 
cian. The Iron Legs series begins with a very gentle exercise. The 
best way of performing it is to give a swinging motion to the body, 
dipping back a little as the knees bend forward, and pitching the 
head slightly forward as the knees are straightened. The pleasure 
is very great if there is no jerk or jar in the action. 


Figure 1. 


IRON LEGS. 


FIRST SET. 


zr2. 




p::g:g = 


Ped. 


M • * * * * * :* r} 

^-r-r-fr— w--t=l—r « » *-I H 

•ca. 

L * Ped. 






* Pei 

I 


i it 


£ 


4Ejfc4E: 


? 


S: 


» ■* p • 




EU 






S=: : 


* g *T(#J- "FI 


-P--P- -P- ff Ped- 






t=»- 

o=t= 



(1 

2-K- 

x- — - — l — 

r — m — 

-~-r 

! 

^ i 




i— 

4k- . — 



d 

@5 

VoA 

T- P i 

1 — 

—0F—ir 

l-p * 

1 - - 

-P p-f-p 

VpA ***** 


E= 


_ * s* T- s - s f, s i i }:* 

PH-P 11 '- ^T— F—i-r~ i- 1 ——r*" 


-'r^:W-- r 


-t=t=t 


* * * 3 


=p: 

"I 


Ss»=g Bg=sgg 


==|=J ‘ zpzHEJEJ: 




=P= 


=t= 




-P-H 


_®_ .p_ -P-# Ped. 
_.-,— J*::P:P 

E=t=:t^|=:”Esa??-?= 


±C=t 


1 S If I f 1 1 








































































































































































































































































366 


RALSTON CULTURE 



Figure 73 Enlarged.— Explanation: Any rapid movement 
of a muscle sets the blood throbbing quickly through the veins, 
and the nerves respond by a feeling of life. A quick step, a rapid 
lifting of the arm, or anything that involves speed, is of the highest 
value in waking up a sluggish body. Sometimes a headache that 
is due to a clogging of the system or a stagnation of the blood in 
the veins of the head, is instantly cured by a quick motion of some 
part of the body. In the present movement the right hand must 
be made to pass rapidly around the left, the latter being held still. 
After eight counts, reverse by keeping the right hand still and caus¬ 
ing the left to pass around it. If the speed is good, there will be 
two or more revolutions on each count. Reverse by changing the 
direction, also by causing both hands to revolve about each other. 



















Figure 73. 


RAPID EXERCISE. FIRST SET. 










































































































































368 


RALSTON CULTURE 



Figure 41 Enlarged.— Explanation: Here is another of those 
immensely valuable exercises that are capable of overcoming dis¬ 
ease in the most unexpected manner. The seat of life is in the 
chest. The present movement is the very best of all for increasing 
the vitality of the lungs, and that means the vigor of the whole 
body. The music should be specially adapted to the action, as it is 
of a double nature. On count one place the left hand on the chest, 
and strike the back of that hand with the palm of the right on 
count two. Tapping the chest was always a valuable means of in¬ 
creasing its vitality, but most pupils strike too hard. This enables 
one to accomplish the desired end, but the blow cannot be too hard 
when dealt first to the back of the hand. The under hand may be 
made to travel over the entire chest surface; then go back again, 
using the right as the under hand. 
























Figure 41 


CHEST EXERCISE. FIFTH SET. 

One two three four five six 











































































































































































































370 


RALSTON CULTURE 





Figure 53 Enlarged. — Explanation: In this movement the 
tax on the arm muscles becomes greater than in any other of the 
series thus far given. It can he commenced either way, just as the 
teacher catches the accent, or as the musician develops it. One 
way is to raise the arms laterally as the attitude of preparation; 
and bring them down stiff against the sides by an outward swing 
on count one; see that the hands describe arcs of circles, otherwise 
the whole value of the exercise is lost. On count two raise them 
to the attitude of preparation. The other way is to begin with the 
hands at the sides and to raise them on count one and lower them 
on count two. This depends largely upon the way the music is 
played. The time should he quite slow until the action is learned, 
then it may he made faster; hut this is to he done gradually. Do 
not allow the muscles to become limp while the exercise is being 
performed. 




































ARM EXERCISE, 


Figure 53 


FIFTH SET. 




























































































































































































372 


RALSTON CULTURE 



Figure 92 Enlarged.— Explanation: This is the bell-ringer. 
It is* exquisitely beautiful. There are several ways of performing 
the movement, and the music has much to do with the success of 
the action, as well as its enjoyment. On count one step right oblique 
forward, raising the hands to grasp the supposed bell-rope, and 
lifting the left foot close behind the ankle of the right. On count 
two step obliquely backward on the left foot, lift the right in front 
a few inches, and pull hard down on the rope. On count three re¬ 
peat the combined action of count one; four is the same as two. 
Allow eight counts for the right side and eight for the left, repeat¬ 
ing until thirty-two is reached. At the first practice it is well to 
keep both feet on the floor until the full rhythm of the action has 
been acquired; then the dainty lifting of the feet adds to the artistic 
value of the exercise. 



















Figure 92 


THE ARTISANS. 

One 


two 


three 


SECOND SET. 



four 


fef- 1 i 

T~1 4 4 

: * =1 =1 4 * 

t . ■ v * t— 

' i 9- *- fcJ 



i 

7 ^ Z Z 

r ^ ^ - 

r 4 1 4- n 

rj . .... t t 

t .r 

-- m - 

=h :—1 - 

-Z—*- 

- m 

i'-i 



- 




& 






WL 

I 




* -# 


4 - 

:ajzz 

Z- 




:\LT i\* 

















































































































































































374 


RALSTON CULTURE 



Figure 34 Enlarged.— Explanation: This is a very interest^ 
ing as well as beneficial action, provided all the requirements are 
strictly observed. The heels should he together, toes out; the 
calves of the legs should touch, and be held firmly against each 
other; there must he no twisting of the lower half of the body, for 
the tax would then he removed entirely from the waist and placed 
at the ankles without benefit to them. Imagine that the legs are 
pinioned together and held in a vice, so they cannot move. On 
count one swing the extended arms around to the right. On count 
two they should swing to the left. Keep the arms well hack so as 
to make them as one long pole, and do not lower them from a posi¬ 
tion parallel with the floor. See that the waist gets all the tax. A 
pleasant way of performing the exercise is to commence with short 
movements to the right and left, and gradually increase their ex¬ 
tent. 





























Figure 34 


















































































































































































t 


376 


RALSTON CULTURE 



Figure 40 Enlarged.— Explanation: This excellent movement 
is known by onr classes as the Perpendicular Drill, and is one of 
the most effective ever invented. Nothing like it was ever known 
until it was used by the Ralston System, for which it was specially 
prepared. It is as different from the calisthenic movement, which 
it seems to resemble, as day is from night. This action requires that, 
the hand be clinched, energized and kept under the arm. On count 
one the fist is to be brought up so as to strike the under part of the 
arm at the arm-pit, not in front but under. This is very difficult. 
On count two throw the fist downward in a straight line; continue 
for eight. On nine raise the left fist under the left arm, striking 
hard; then lower it on ten and continue; on seventeen raise the right 
fist; on eighteen raise the left and lower the right; on tzventy-four 
raise both, and continue to thirty-two. 

























CHEST EXERCISE. 


Figure 40 


FOURTH SET. 


One 

— 0 -— 

two one two 

* * m » 

- 0 - -00 - 0 —-I 

J 

* 

1- * ~ ^ ^ t- J * 

-1-1— 1-1 1 

L -r-- r t J 

< 

1 -1— 

TT 

f—SirHP *1 : s—-— 

f— i f=; —q 


V 

t= H t > t 

& p J 


-1- J— 


*+00 

—MI-XL tfp -- 1 jP 

^ ^ ^ “ 


fnv 1— r- ~^ j^r 

! ^ „ 

^ 1- ^ -- 


^ i ^ 

r ' L ^ 

xr 

•>- ■ m -f- -Jr '# ttj- Jr 

J! 

v ar v it e * k. 

fP7= * 2 

1 1 ( r I 


• 

=L r 

- -3 £ t= tz q 

L * *- J 

| U k 1-tz — 
















































































































































































378 


RALSTON CULTURE 



Figure 46 Enlarged. — Explanation: The tasks grow harder 
as we proceed. The above exercise will eat up any surplus fat at 
the shoulders and upper parts of .the torso; yet will add flesh where 
that is lacking. You know that fat is not flesh; it is not the result 
of nutrition but of stagnation, and should be thrown off when over- 
accumulated. On the other hand, flesh is the result of nutrition, 
and is really nutrition in itself. Thus the same exercise may re¬ 
duce the weight of one person by eliminating the fat, and may in¬ 
crease the weight of another by adding flesh. In the above move¬ 
ment raise the hands over the head as high as possible, with the fists 
clinched. On count one bring them down in a wide, sweeping semi¬ 
circle, striking the sides of the hips; on count two return them to 
the high altitude, striking the fists together over the top of the 
head. 




















FOURTH SET, 


Figure 46. 


SHOULDER EXERCISE. 

One two one two one two one two 




















































































































































































































































380 


RALSTON CULTURE 



Figure 35 Enlarged.— Explanation: This is a beautiful 
action when performed by a class in unison. Most teachers wish to 
present their classes to the public, and there are no better exercises 
than those which occur in the series of the knee, in this of the 
waist, and in others where the arms aid in giving picturesqueness 
to the work. The fault of an exercise of this kind is in the in¬ 
ability of the pupil to hinge the body’s bending at the waist. Be¬ 
fore commencing the practice it is well to place the hands hard 
against the sides, above the hip hones, and press in to see that the 
bending occurs there. The arms should form a walking-beam in 
their action, and must be kept perfectly straight even when they 
are made to tip. The exercise should commence easily and gradu¬ 
ally increase until the bending may be sufficient in time to permit 
the arms to assume a vertical attitude. 

















FIFTH SET. 


Figure 35. 

WAIST EXERCISE'. 

One two one two 






































































































































































































































382 


RALSTON CULTURE 



Figuke 60 Enlakged. — Explanation: When the hands are 
cold the quickest way to warm them is to perform the movements 
of Figure 162. It is, however, not possible to obtain warmth either 
in the hands or feet unless there is a sufficient supply of nutritious 
food in the system. To eat a light breakfast is sure to leave the 
blood weak for the whole day. The furnace needs its fuel in ad¬ 
vance of use, not when it is getting ready to rest. Music is of the 
highest importance in developing the vim and spirit of an exercise. 
On count one strike the hands in front of the body; on count two , 
at the hack, or behind the body; keeping the arms straight and 
stiff, so as to throw the energy into the hands. At first the move¬ 
ment should be as slight as can he conveniently made; then permit 
it to he enlarged, and add force to the blow at the same time. 


HAND EXERCISE. 


Figure 60 


SIXTH SET. 




i -5 »• e E =i q 


(gF- - 

(Pr^—;-*P- 

r^-*-£&o±zM -J— 

pn 2 p *? 

t=fcz 5 - • bit £, d 

= 1 — \ - M — ? — : 

\S 6 |£_d-pi- 

E ~=|. P 

L r L -# *- 

^ r F-i r = 

L |-L 4 - J 



m 

■m- 

^m- 

nnrt -^i i 

——- 

- *n^ m 

I 

/ ^ bL » • J 


i i i ^ i r^K s 

^ _r^w • r 


l lex _ w r 



r r^r 

r ! 1 

1 xjI L*J_ 



Trar- 

l JZ 

_b~ _ t— 1 

\ *7 

* 

m 1 1 

% I S 5 S~S 

I /pV—rv _ 



* U* - 1*. 

a | 


rr- 'i i 

1 PiT * 


w 

1 ^ 1 

p 1 




| 


ll 


I L 

r 1 — 1 

\ ^ [_ 


-1— 

1 LL 

.1 


± 1 


/=fcdt= 

a x 

~^r r- P 

:=□ ns 1 

| 



/ / . ... ’ r ^ _ 

. p• h — P ■ f 

1 1 



jv^d 

If v □ ^ □ 


. r Jr. n« 

J J 

F- a 

* Wm < 


~ 1 Ll 



r. Jr 


i 

\ TT • r 1 

ff 

& . ... .. m 

B- -P- 

1 7JTY* U "1 ^ 

J 1 

P 

P 



r 

! f£J*, L> S 

. .2. ~ 1 



P | 


w 

E 

\ zj p 

^ ' 1 1 






' —— -r- 

C i- L 



— 9 

-1- 



- : f>f-J-^ - • r 

1 ~h i 


( <£j?- -* 5S-. » b • : -*-£jS; 

( WHr — r—»s — pn-J- 

-1-1 1— 

=* a! 

: i ^ 

=i ; i, L t ^ J 

' e ^3 J=s t - 

- -J F- 

L_^ n 

L '| L | J 






i 


£ 


±z 




t 




£ 


i 












































































































































































































384 


RALSTON CULTURE 


END or THE PUBLIC SCHOOL COURSE. 


While the ten exercises and ten musical airs are inter¬ 
esting and catchy, their chief value is in their effect upon the health 
of pupils. They may be given in ninety seconds each, and thus 
occupy the time of fifteen minutes, if they follow each other with¬ 
out delay. As they are supposed to be used day after day, no time 
need be taken in explaining them; nor is an exact performance of 
them necessary to begin with. In a few days or weeks every detail 
will be known. This method would not prove satisfactory in the 
other courses, for the purpose there is to acquire as thorough a 
knowledge as possible and complete the training in a given term. 

The Public School Course may require one session of 
extra length to open with, in order to start the exercises aright. 
When this has been accomplished, the daily recreation should be 
quick, bright and interesting. The question of keeping the pupils 
on their feet for fifteen minutes may be settled in this way: If they 
have just come in from the opening hour of morning, or from their 
recess, it would not be advisable to weary them by a continuous 
session of fifteen minutes, as they will commence the exercises with 
muscles already tired from walking or playing. This must always 
be considered; and we have, therefore, advised against giving phys¬ 
ical training too soon after the pupils come in. The walk to school 
and the play of recess furnish sufficient recreation for an hour at 
least. i 

When the pupils have been shut in for some length 
of time, say from sixty to ninety minutes, their heads become 
weary, their blood sluggish, and the faculties are deadened. Then 
they should be given fifteen minutes of the freshest air, by opening 
all windows, and the ten exercises of the Public School Course 
should be given. We have had occasion to advise this to teachers 
who had been in the habit of opening the day with exercises and 
closing with exercises, but who found that their pupils did not im¬ 
prove in health by practicing after a walk and again just before a 
walk. Under our plan they gave the exercises an hour after school 
opened, then repeated them midway between that time and the 
hour of adjournment. Says a teacher: “My scholars feel better 
and study better since I have adopted these Ralston ideas.” The 
brightest pupils we have ever seen were so trained. 



nrTH DEPARTMENT. 


Conservation of Vitality 

THROUGH THE 

Laws ol Grace and Poise in Exercise. 


T here are so many bad ways of performing good exer¬ 
cises; and so many unsatisfactory results that are due to the 
clumsy work of pupils, that we propose in this volume to 
go to the root of the difficulty and remove the cause. The 
best exercise is like the best piece of music; its beauty depends first 
upon itself, and second upon the way it is performed. We have 
all known good music to be badly rendered. It is not pretended 
that an artist can make a gem out of an unworthy piece, nor can a 
good performer endow a wrong exercise with charms. 

The first of all faults in the management of the body is 
the use of straight lines when unnecessary; and this has much to do 
with the fatigue that follows every muscular exertion. If you will 
draw a line as straight as you can and look at it, you will see the 



usual standing attitude of the pupil of either sex, who expects to 
make progress in physical culture. He believes he must stand 
straight for he has heard that the lolling attitude is bad, that round 
shoulders are worse, and a hollow chest is the acme of error; so he 

( 385 ) 







386 


RALSTON CULTURE 


attempts to remove all these faults in one straight line. He does 
not know that the latter is fully as bad an error as any of the 
former. With the same idea,, the ordinary school teacher instructs 
the round-shouldered scholar to throw the shoulders back a long 
way^ and thus overcome the front defect. She does not stop to 
think that the hollow at the hack is fully as serious as that which 
she has attacked in front. Let the lungs be properly developed and 
the shoulders will take care of themselves; nor will a forced attitude 
cover over an inherent fault so as to blind the eyes of nature. 

Looking at the lines in the foregoing paragraph you will 
see that the one to the left is straight. This is not graceful, even if 
you see a soldier assuming it. Nature cannot intend to teach us 
to adopt straight lines as she never made one herself. All creation 
is in repose and action; but there is no still straight line in the uni¬ 
verse, and no motion that proceeds in a straight line. The orbs are 
round; they have no corners, no sides, no flat surfaces. They swing 
in orbits that are shaped in curves. A stone thrown in the air does 
not return straight to the earth; it describes a parabolic curve. Nor 



■Fuj.285. Fn^.28 6. Fijr. 287 . Tijf2dd. 

can man force an absolutely straight line upon nature. On the 
contrary it is wrong to go to the other extreme, or to any extreme; 
for the medium course is the best at all times. The very decided 
curve on the right of the lines is as wrong as the lack of curve on 
the left end of the group. This error is assumed under two condi¬ 
tions; in one, the extra ambition, physically speaking, of the pupil 
causes a forced position either in the attempt to stand like a stick 
or else in the opposite attempt to remove the stick-tendency by 


CONSERVATION OF VITALITY 


387 


striking a large curve; and, in the other condition, the lack of phy¬ 
sical ambition leads to a lolling or lazy position that breaks the 
body up into parts. 

The approach to a straight line is not a sufficient 
remedy of that fault as it is not a departure from the appearance 
of such a line. The same may be said of an approach to a decidedly 
curved line. Of the five, the middle is the best. So in a standing 
attitude, the rule should he to avoid the appearance of being 
straight to excess, and the appearance of being curved at all. This 
is found in the middle or medium line. 


I 76 I 


Straight lines are graceless. 

This is the 76th Ralston Principle. The first ten of these laws 
are found stated and explained in the book of General Member¬ 
ship; the next sixty-five are presented in Ralston Gardens; making 
a total of seventy-five. Herein we have the next in order. There 
are, all told, one thousand Ralston Principles, which are designed 
to furnish a complete education in every important detail for every 
man and woman from the humblest to the greatest. These are so 
valuable that we strongly advise every person to commit the whole 
thousand to memory as soon as possible. ( They would fill the store¬ 
house of the mind for future use, enlarging the scope of the intel¬ 
lect and preparing every man or woman who mastered them with 
the best equipment for the battle of life. 


g 77 § 

i & 

The central line of beauty is the perfect curve of 
grace. 

This is the 77th Ralston Principle. By reference to the lines 
that are presented a few pages back, it will be seen that the first is 
merely a straight one, representing nothing but skill of execution. 
The line next to it is so nearly straight as to be too suggestive of 
the awkwardness that appears in the first. Then at the other end 
the fifth line is too much curved, exhibiting the idea of affectation. 


388 


RALSTON CULTURE 


The fourth line is near the same in effect, and must for that reason 
be rejected. There remains hut one, and that is the third or middle 
line. This is neither too suggestive of straightness, nor of affecta¬ 
tion; therefore it is called the central line of beauty, and neces¬ 
sarily is the perfect curve of grace. As we follow this study from 
stage to stage we shall see the application of this middle line in 
many ways. 

Ik 

1 78 I 

1 

Continuous curves are neutral lines of grace. 

This is the 78th Ralston Principle. A neutral line of grace is 
one that is not positively graceless; nor positively graceful. It is 
often a necessary line; but should be avoided when necessity does 
not command its use. A straight line also serves in its place to 
meet the requirements of physical life, or the expression of strength; 
as when a pugilist strikes a blow, making straight for the object of 
his aim. The soldier is trained to stand straight; but what woman 
or man would look well entering a room or holding a position in 
such a line? His motions, his salutes, his attitudes are as straight 
and as graceless as it is possible to make them; because he stands for 
the physical and not for the beautiful. This is not a representa¬ 
tion of the neutral, for it not only does not appeal to the sense of 
enjoyment but actually repels it. 

The central line of beauty is a positive expression of 
graee. Between this and the straight line is the continuous curve, 
which is neither graceless nor graceful. Any part of a circle may 
be taken to illustrate the appearance of this line. Or it may be 
pictured by the arm held in a position that is not straight, and also 
that is not broken in three directions. Or it may be shown by the 
body as when the hip is projected to the front and the head is 
thrown back; or the hip is projected to the back and the head is 
thrown to the front; or the hip is in any oblique advance and the 
head in any opposite oblique retirement. 

By reference to some of the figures already given it 
will be seen that these various laws are illustrated in the lines of the 
body. In Figure 285 the approach to a straight line is seen; in 
Figure 288 an exaggerated curve is seen, which indicates affecta¬ 
tion; in Figure 287 an approach to this exaggeration is presented; 


CONSERVATION OF VITALITY 


389 


while Figure 286 shows the central line of beauty in the perfect 
curve of grace. In order to know what the body and its parts may 
accomplish, take a standing position so as to leave both arms free; 
then raise them in front of the shoulders in straight lines. Now 
vary this by repeating Figure 288, the opposite extreme of a straight 
line. Then give the approach to it as in Figure 287; and finally re¬ 
produce 286; the central line of beauty in the perfect curve of grace. 
This will prepare us to consider the next principle. . 

$ 

p 79 l 

Affectation is the excess of grace. 

This is the 79th Ralston Principle. By excess of grace need 
not mean too much grace; hut rather a passing beyond that mod¬ 
erate middle ground of action and attitude where absence does not 
mar the sight; and too much presence does not protrude itself. The 
naturally awkward person is one who never gave thought to grace; 
he may have seen it in others, but did not know its nature, nor 
realized that it might fit him as well were he to seek its adoption. 
He, therefore, has never paid attention to the culture of the body 
as a physical machine capable of defining lines of beauty. But 
when a person has seen grace in others, has thought about it and 
learned of its advantages in beautifying the personality, he is very 
sure to make efforts at*reproducing these traits in himself. If his 
skill of judgment is not of the highest order, he will overdo the 
practice, and carry this overdoing into his intercourse with others. 

He may notice the stiffness and straightness of the 
soldier, and of the awkward country fellow; he may compare with 
them the gentlemen who are easy and graceful; and, taking his cue 
from the latter, he will do as they do, driving out the stiff, straight 
lines by an indulgence in the excessive yielding of the body. In 
Figure 291, this excess is made as strong as possible for two rea¬ 
sons; first to show the three directions into which the body really 
breaks when departing from the straight line of Figure 289; and, 
second, to overdo the excess of the attitude so that one who sees F 
will not easily be tempted to imitate it. Figure 290 is the central 
line of beauty, for the reason that it avoids the straightness of 
289, and the excess of 291. Yet in order to get the moderate 


390 


RALSTON CULTURE 



nq.a 89 . n^zso. r 'j^ si 





























































































CONSERVATION OF VITALITY 


391 


middle bearing of 290, it is really necessary to practice the excess 
of 291 until the body is made flexible, and can be readily broken 
into three parts having three general directions. 


* I 

^ j§ 


80 


Oppositions are the highest types of grace. 

This is the 80th Ralston Principle. The law herein contained 
is very hard to explain, and a little time must be taken to make it 
clearly understood. The idea of an opposite is something that not 
only differs from something else, but also differs from it by the pres¬ 
entation of a balance or contrast. White is the opposite of black; 
white brown is merely different from black. Light is the opposite 
of darkness, but twilight is merely different from darkness and is 
not its opposite. A step forward is the opposite of a step back¬ 
ward; but a step to one side is not the opposite of either, although 
differing from both. If you will look at Figure 289 you will see 
that it presents no suggestion of an opposition; but 291 shows that 
the hip is projected to one side, while the shoulders are projected 
to the other side; thus describing an opposition although it is much 
overdone. The hips and shoulders are in opposition to each other. 

Then in the same picture, Figure 291, the shoulders are 
held to one side and the head to the other. This establishes 
another opposition, making two in the body; yet they harmonize 
with each other and at the same time prepare the way for the cen¬ 
tral line of beauty as in Figure 290, by being toned down. Now if 
the hip had been projected to the front while the shoulders were 
held to the other side as seen, the result would have been a con¬ 
tortion; and the same would be true if the head had been thrown 
forward or back with the shoulders to the right or left. In order to 
make the true opposition the parts of the body must assume! oppo¬ 
site directions; especially if they are contiguous. Thus it would 
not do for the shoulders and hips to project in the same direction; 
nor for the head and shoulders to do likewise; but it would do for 
the hips and head to be carried in the same direction, for they are 
not contiguous, as the shoulders come in between. It is helpful 
to practice before a full length mirror where these attitudes may be 
seen as they are executed. 


392 


RALSTON CULTURE 





F i g.29 6. 


































































































CONSERVATION OF VITALITY 


393 


s i 

3 8J | 

Parallelisms are graceless. 

This is the 81st Ralston Principle. Look at Figures 292 to 
297 and see if yon can catch the meaning of this law. To he grace¬ 
less may include everything that is positively lacking in grace, and 
everything that is awkward. A straight line to most eyes is awk¬ 
ward; to some it is merely the absence of grace, as it stands for 
strength rather than beauty. A parallelism has been described by 
some as the lack of oppositions; but that definition will not bear 
analysis. A straight line is the lack of oppositions, yet it prevents 
no parallelism. By the latter word is meant the resemblance of two 
parts of the body in action or attitude where an opposition is pos¬ 
sible. If they are contiguous they can always be taken out of a 
parallelism. 

The body may be said to be divided into three parts 
the lower or physical is that from the hips to the ground, or the 
total realm of the legs; the second is the emotional, or that which 
extends from the hips to the neck; and the third is the intellectual, 
or the neck and head. If the legs are inclined in a certain direc¬ 
tion, and the torso or trunk leans also in the same direction, there 
is a parallelism, as may be seen by observing the legs and torso of 
any of the positions from Figure 292 to 297. In the first of these, 
the legs and torso are both inclined to the person’s left, making a 
parallelism of the two parts of the body. The word does not sig¬ 
nify a parallel in geometry; but a likeness or resemblance of posi¬ 
tion or attitude. A parallel case is' one that is similar to another. 
In such sense we use the word. 

Not only is the middle division of the body, the trunk 
or torso, inclined in the same direction as the legs, but the head 
is also so inclined, making a second parallelism. The head might 
be inclined with the legs and not make a parallelism, for these divi¬ 
sions of the body are not contiguous. We then speak of all the at¬ 
titudes in Figures 292 to 297 as double parallelisms. In 292 the 
body in all its three divisions is inclined in the same direction, 
namely to the person’s left; in 293 it has the same fault of a total 
inclination to the person’s right; and in 294 the body is pitched 
forward, which is a very common fault. There is no doubt that 


394 


RALSTON CULTURE 


the forward support is the best, if it could be made in the central 
line of beauty, as seen under the 77th Ralston Principle, To ac¬ 
complish this it would be necessary to break the body by inclining 
the hip forward, the shoulders back, and the head either forward, 
normal or hack as its use may indicate; but the chief parallelism is 
removed when the hip seeks one direction and the shoulders an 
opposite direction. In Figures 296 and 297 are seen the spread 
positions of the feet, which allow the inclination to be made greater. 
This fault is not only common but is universal among young folks, 
especially when they speak, or stand up to exercise; and more than 
ninety per cent, of adults are addicted to the swaying fault. The 
illustrations look excessive for the reason that we do not see per¬ 
sons fixed in either extreme; and their swaying tends to destroy the 
effect of the exaggeration. Let us compare this condition with 
others under subsequent laws. 


I 82 I 

§ 82 & 


Forward oppositions are the most vital attitudes of 
the body. 

This is the 82d Ralston Principle. Much of its value may be 
learned from casual remarks just made. To stand on the heels is 
barbarous, both in a physical and esthetic sense. Look at the ex¬ 
tremely awkward poise in Figure 295; a condition that is somewhat 
relieved by the better parallelisms of Figure 294. Many singers 
and speakers stand in the latter position, for the reason that they 
have discovered or have been told that the voice comes out more 
readily in a forward poise, has a clearer sound and a more vital 
ring; all of which is true, but may be accounted for by the fact thac 
the throat naturally opens and lets the voice out when the weight 
is taken from the heels. The forward inclination causes the head 
to seek an entirely different balance, which can be accomplished 
only by raising the chin, which of itself always opens the throat. 
When the weight is sustained on the heels, the head seeks a bal¬ 
ance to suit that support, the chin is drawn in and the throat closes, 
causing the voice to fight its way against a continual obstruction. 

Then the chest seeks a new balance when the poise is 
forward; for it instinctively rises, coming up and forward little by 



CONSERVATION OF VITALITY 


395 


little until the whole frame is more symmetrical and vital. The 
organs of life within are carried higher and under a better tension, 
thus feeding them with a larger fund of nutrition day after dky 
until health is found returning fast. In the practice of hygiene 
it is the quickest of all ways to get health; and the best combination 
known is the forward poise and the upward carriage of the inward 
organs, the lung cavity, the heart, the diaphragm, the stomach, liver 
and viscera. We believe the problem of health may he solved at 
this one point. 


M § 

| S 3 I 

The body is best supported on the balls of the feet. 

This is the 83d Ralston Principle. The foot may be said to 
have three divisions by which the weight may be sustained. The 
first of these is the heel, a place of support that can never he used 
without danger to the health, the nervous system and the appear¬ 
ance. The second of these is the hall of the foot; and the third is 
the tip or the toe of the foot. By a few experiments in standing 
you may readily ascertain the use of these three parts. For ex¬ 
ample!, stand on the heels; then change the attitude in various ways, 
keeping the weight on the rear third of the foot; then walk on the 
heels. This is common to nearly all humanity; for which reason 
awkwardness is' as common. 

Now place the weight on the balls of the feet, keeping 
the heels always on the floor without using them. This is the mean 
between two extremes. Stand this way for a while, and compare 
your degree of weariness now with that attendant upon the feeling 
that ensues after using the heels. Then assume various attitudes 
in all of which the weight is kept on the halls of the feet, or the hall 
of one foot, while the heels still touch the floor. After this walk 
about, applying the same law of support. It will be seen that every 
exercise so taken, every movement, attitude and step will keep the 
body always tending toward better grace; while the heel support 
will tend the other way. Then pitch the weight forward to the 
toes, or tips of the feet. In doing so you will observe that the heels 
must now be raised. This is an attitude that would be affected if 
assumed as a habit; but is useful in teaching poise and in certain 


396 


RALSTON CULTURE 


kinds of dancing. It also has its place in the exercise work of 
physical training. 

i 

I 84 I 

A graceful attitude requires a small base of sup¬ 
port. 

This is the 84th Ralston. Principle. We must always dis¬ 
tinguish between what is intended to he graceful and what is re¬ 
quired for strength. Then there is a third class which includes the 
combination of both. It is often true that the union of strength 
and grace is the best presentation of the latter, as may be seen by 
examining some of the most effective movements in the exercises 
of physical culture on the preceding pages in the earlier part of this 
volume. The weaker the body the greater must be its base of sup¬ 
port, as will be observed in Figures 299, 300, and 301. A sick man 
spreads his feet widely apart in order to avoid losing his balance. 
The same is true of a drunken fellow. Also it may be seen that 
faintness causes the feet to take large attitudes, in the effort 
through staggering to prevent a fall. 

A glance at Figure 298 will reveal the narrow base of 
support which is maintained by holding the feet close together; 
but while one law of grace is being sought, another is being badly 
broken. In 298 there is a double parallelism. In the first place 
the feet are both equally advanced, which is a parallelism of posi¬ 
tion. In the second place both feet point in the same direction, 
which is thus called a parallelism of direction. In Figure 299 both 
of these faults are still maintained, in spite of the fact that the base 
has been enlarged. In Figure 300 one parallelism has been over¬ 
come; the feet no longer point straight ahead, but are made to as¬ 
sume opposite directions; thus turning the parallelism into an oppo¬ 
sition which all graceful persons seek to do. Figure 301 illustrates 
the effect of a broad base. Figure 304 is a common fault as to one 
foot; but what looks bad in one looks worse in both, so the double 
effect is pictured. You will very often see persons stand with one 
foot slightly turned in, and the other straight ahead; a combination 
of 298 and 304. 

A brief comparative study will serve some purpose at 

this stage. We have spoken of the double parallelism in Figure 


CONSERVATION OF VITALITY 


397 


298, as well as the same repeated in Figure 299 with a slightly in¬ 
creased base. One of these parallelisms was removed in Figure 300, 



but the other remained. In Figure 303 we see the one that was re¬ 
moved, while the fault of position is now eradicated. In Figure 
305 both of these parallelisms have disappeared, and the base is 






























398 


RALSTON CULTURE 


reduced to a small area. Here is the acme of grace in a standing 
attitude. It is not the best position for the exhibition of strength; 
as that is another consideration. 


1 85 i 


Successions are flowing movements of grace. 

This is the 85th Ralston Principle. A succession is a sequence 
of action that would become a parallelism were the parts made at 
the same time. Thus to advance the shoulder and the arm may be 
either one or the other as the question of time in the performance 
may determine. These statements are very technical, no doubt, 
but they are of the highest importance and should be studied with 
patience. It is very difficult to make a succession that would not 
be graceful if the same be done spontaneously. An awkward per¬ 
son may make a succession by forcing it; but when it comes after 
practice as a habit it is necessarily a flowing movement of grace. 

Some so-called successions are not properly entitled 
to that name; as when the arm is broken into its parts and each 
follows the other as in the whip lash action; the shoulder starting 
the movement, then the elbow, then the wrist, palm and fingers. 
The true succession is made when the arm and body advance, but 
one after the other; or when the arm and torso are moved in the 
same direction; or the arm and shoulder; or the head and body, 
head and arm, head and shoulder; and so on. With the laws already 
presented there is material for a pleasant study of the habits of the 
body. Let us first look at Figure 309. Ask any person, however 
unlearned in art or grace, if it is an attractive position, and the 
answer will be at once in the negative. The arm has been ex¬ 
tended out laterally to the person's left, and looks as if it had pulled 
the body out of a plumb line; as it really has. The same fault is ob¬ 
servable in Figure 310, as a right lateral parallelism, and in Figure 
307 as a front action of the same kind. In Figure 308 a continuous 
curve is depicted as a breach of the 78th Ralston Principle. 

The two attitudes that seem to please most are those in 
Figures 306 and 311. In the latter the continuous curve is de¬ 
stroyed by the advance of the knee; and to that extent is an im¬ 
provement over 308; but the shoulders afid arm depict a parallelism 


CONSERVATION OF VITALITY 


399 


of attitude that may represent strength, and in so doing may be a 
necessity. Try to assume the same attitude, hut see to it that the 







shoulder and the arm are not advanced simultaneously. If you 
Study 306 you will find that there is no breach of any law of 


































































































400 


RALSTON CULTURE 


grace; the legs and torso make an opposition of direction, as do the 
torso and head. The shoulder is not pulled forward by the plung¬ 
ing out of the arm, but stands back and holds the body in symmet¬ 
rical shape. This, then, is the typical attitude of grace. 
























































CONSERVATION OF VITALITY 


401 



Parallelisms of action should be turned into succes¬ 
sions. 

This is the 86th Ralston Principle. It provides the remedy 
whereby the faults under the 81st Principle may be transformed 
into the flowing movements of grace under the 85th Principle. A 
study of the various figures from 312 to 317 will disclose what is 
meant by the faults and the merits which are involved in the laws 
mentioned. In Figure 312 it is seen that the head and the right 
arm may move forward; if done simultaneously the effect would be 
the height of awkwardness; yet we often see that fault committed 
by speakers. Now the same attitude may be made by another par¬ 
allelism; that of lowering the head and the hand at the same time. 
To turn it into a succession, the head and hand should not be low¬ 
ered simultaneously but one after the other. Which should precede? 



The heavier should lead the lighter. 

This is the 87th Ralston Principle. The solution of this law is 
not easy at first. The three parts of the body involved in Figure 
312 are the chest, the arm and the head. Whichever is the heaviest 
must properly lead. We know that the chest is heavier than the 
head and also than the arm; so it is settled that as between an ad¬ 
vance of the chest and head the chest must lead, and as between a 
lowering of the chest and head the chest must lead. But is the head 
heavier than the arm, or is the latter heavier than the former. Ac¬ 
tual weight need not determine the matter for the analysis of the 
movements of graceful and even strongly graceful persons, shows 
that the head follows closely after the chest, and always precedes 
the action of the arm when successions are possible. 

If a feather be thrown into the air and left to fall by its 
own weight, the quill end will lead in the upward course, then turn 
and lead as it begins to descend. In graceful and flowing move¬ 
ments of the arm and hand, the wrist always leads the fingers, by 


402 


RALSTON CULTURE 


operation of the same law. The hip is the heavier part of the body, 
and leads that whenever the whole body is involved in graceful mo¬ 
tion. Therefore the hip would lead the chest if both were to move. 
In Figure 312 the hip is not active, for no steps are taken, nor is 
there any movement except from the waist upward. It is quite 
difficult for a graceless person to execute a motion of chest and head 
whereby the former leads, for the succession is slight; yet the artist 
feels and knows its existence. 

Instead of the forward action shown in Figure 312, a 
lateral movement is seen in 313. The advance of the knee prevents 
a continuous curve under Principle 78. The chest, head and arm 
are all carried to the right, and all are somewhat lowered, making 
two sets of successions. In these the action should be imitated by 
the chest, then flow to the head, and finally appear in the arm. In 
Figure 314 the same action is pictured on the opposite side of the 
body. In 315 a variation is seen in the fixed depression of the two 
arms, the chest and the head. We here have another problem. 
Shall the law that declared that the feet should not be evenly ad¬ 
vanced nor point in the same direction, apply also to the use of the 
hands? No. The arms are not contiguous. As the head and hip 
stand with each other in an opposition of position, as the feet and 
the shoulders should likewise stand in harmony, so the hands, being 
separated by the torso, may work together without effecting a paral¬ 
lelism. Thus when both hands are advanced they make an opposi¬ 
tion, even if exactly the same in direction and degree of advance¬ 
ment. 



Successions should overlap each other. 

This is the 88th Ralston Principle. The word overlap means 
that one action should begin before its preceding action has ceased. 
A flowing movement of grace would be neither graceful nor flowing 
if the parts of the action were connected at their respective ends. 
Figure 315 furnishes an excellent means of illustration and prac¬ 
tice. Stand up. Lower the chest, head and arms with fists 
clinched; allow all to drop simultaneously. Then stand erect again, 
bringing the hands, chest and head up, and place the hands upon 
each other over the chest. Now drop them and all simultaneously. 


CONSERVATION OF VITALITY 


403 


Repeat several times until you realize the awkwardness of the ac¬ 
tion. This practice develops parallelisms. To produce grace out 
of them they should he turned into successions under the 86th 
Principle. 

The next step in the practice is to make successions 
that are not overlapping. This is done by dropping the chest first, 
for that is the heaviest; then, when the chest is as low down as it is 
to be placed, let the head fall; and finally let the hands fall from 
their position on the chest. Here the succession is established. 
Repeat fifty times, if you have any difficulty in making the move¬ 
ments; for if once well executed in this practice a certain control 
will have been acquired over the whole body. Yet the result is 
far from graceful, for the 88th Principle tells us that successions 
should overlap each other. This is accomplished by realizing the 
range of action given to each part to be moved; by knowing how 
far the chest will fall, how far the head will fall, and how far the 
hands will fall. How it is certain that the hands will fall fully 
four times the distance of the chest, and the latter fully twice the 
distance of the head, not counting that range of movement which 
the head must necessarily take in accompanying the fall of the 
chest. When the chest has begun its movement, the head should 
begin its fall, so that the former will have come to the end of its 
descent ere the head ceases its actual fall. Thus one flows into the 
other. Then the hands should begin to fall before the head ceases 
falling. All this must be worked out by constantly repeated prac¬ 
tice until you have a clear knowledge of every part of each move¬ 
ment. 



Oppositions of action should be simultaneous. 

This is the 89th Ralston Principle, There are many illustra¬ 
tions of each of the laws of grace thus far given; and it is probable 
that the body is capable of hundreds of oppositions in one way and 
another. By reference to Figures 316 and 317, you will see a very 
common and very simple opposition, which is made by advancing 
the body while carrying the uplifted hand slightly backward. If 
the hand were to be uplifted while the head was bowed, another 


404 


RALSTON CCLTL RU 



















































































































































CONSERVATION OF VITALITY 


405 


opposition would be produced; and others would be made by elevat¬ 
ing the head while lowering the arm; leaning to one side while ex¬ 
tending the arm to the other; and so on. The most effective and 
beautiful oppositions are always quiet and gentle; as when, in the 
minuet, the head is inclined to the right side and the face is turned 
to the left side; and the reverse of this. 

Action and attitude require the same laws of grace. 
The Figures from 318 to 323 are attitudes; the taking of which 
may be exaggerated as they are done in the illustrations. Thus 
320 is excessive, and would quickly be recognized as a species of 
affectation; and 321 is merely the reverse of it. The attitudes of 
318 and 319 are lateral oppositions, while those of 320 and 321 are 
obliquely made, the directions being right and left oblique front 
relatively with the presentation of the chest. The most difficult of 
all oppositions are those of the right oblique backward as seen in 322, 
and of the left oblique backward as seen in 323. These are used 
very frequently in resting attitudes, although not in the excess as 
shown in the illustrations. If you wish to possess a supple, flexible, 
graceful body, especially for its highest social uses, and for beauty 
of action in the great minuet, be sure to practice repeatedly all the 
following oppositions: 

1. Hip leading directly front, weight on the right foot for¬ 
ward. 

2. Hip leading directly front, weight on the left foot forward. 

3. Hip to right oblique front. 

4. Hip to left oblique front. 

5. Hip to right lateral. 

6. Hip to left lateral. 

7. Hip to right oblique backward. 

8. Hip to left oblique backward. 

Whenever the hip takes a certain direction the head 
should take the same direction, and the shoulders should take one 
exactly opposite. Later on when these movements are easily ac¬ 
quired, the lateral and the oblique oppositions should be taken with 
the head inclining with the direction of the hip, but the face turned 
to the other side of the body. This prepares the way for the min¬ 
uet. If you wish to acquire the most graceful control of the body 
for all beautiful uses, free from affectation, you should master all 
the principles which are presented in this part of the present vol- 


406 


RALSTON CULTURE 


M e. But it is absolutely impossible to execute the minuet, unless 
you do master them in advance of taking up that grand exercise. 



The hip should lead the action of the body. 

This is the 90th Ralston Principle. It is the heavier and more 
massive paid of the body. Except when a person is too much de¬ 
veloped abnormally, it is of the highest importance in grace to start 
all movements by a leading action of the hips; of course not in a 
prominent manner, but by a sufficient advance to prevent a unified 
action of all the body from the feet to the shoulders. The hips 
were made to use, not to ignore even in walking; and certainly not 
in dancing or other graceful employment, and the neglect of their 
flexibility or of their existence even, will render the body as stiff as 
if there were no hips. The most beautiful walking is that in which 
the middle of the body shows the first evidence of advance in each 
step. In dancing the best movements are those wherein the hip 
leads; if the weight is carried to the left by a step on the left foot,, 
the hip should overlean in that direction; if to the right, then the 
hip should lean to the right; if in front the same law should hold 
good, and so on. 

These advances of the hip are shown in Figures 324, 
325, 326, 327, 330 and 331; although the feet positions change. In 
324 the feet are held closely together, and the hip leads to the direc¬ 
tion of the person’s right side; while the left is favored in 325. 
Now let the right foot move to a forward position as seen in 326, 
and the hip should lead the entire body in the same direction. If 
the step had been taken with the left foot, the hip should have lead 
as in 327. These illustrations are turned about and are slightly 
exaggerated in order that the nature of the advance might be better 
seen. 

The various kinds of base are shown in Figures 328, 
329, 330 and 331; and those may be compared with those above. 
Under the 84th Principle, we are told that a graceful attitude re¬ 
quires a small base of support. In Figures 299, 300 and 301, we 
see the effect of broad bases of support. In 324 the base is so com¬ 
pressed that the weight is thrown upon both feet; and this is not 


CONSERVATION OF VITALITY 


407 


the best, although it is graceful to some degree. The feet are not 
advanced to the same line, as the heel of the person’s left foot is 



near the instep of the right, thus preventing a parallelism. Figures 
326 and 327 are correct attitudes; the base being narrowed to on© 





























408 


RALSTON CULTURE 


foot and all the weight of the body being supported thereon. In 
328 the heels are together in what is sometimes called the military 
position, which is necessary for drill in exercises, but it is not the 
best for graceful effect. In 330 and 331 the base is again too com¬ 
pressed as the feet are so close as to cause a necessity for keeping the 
weight on both feet. These are at right angles. The position is 
necessary for the gentleman’s bow in the minuet. 


1 91 | 




Poise is the perfect support of the body. 

This is the 91st Ralston Principle. If a person seeks the best 
presence it must begin in the mastery of poise. If he seeks ease of 
standing and of motion, it must come from the same law of support. 
To allow the center of gravity to take care of itself always results in 
a loss of balance at every opportunity. To prevent this, it is im¬ 
portant to learn the art of recognizing the presence of the center of 
gravity, and to keep it directly over the main line of support. 
There are many useful exercises that are used in culture of this 
kind, one of which may be considered the first, as it is the simplest. 
Take a step and stop with the weight on one foot only; if the poise 
is not good, it will be impossible to maintain the balance. Let us 
look further and see how we may learn to control the center of 
gravity. 

I 92 

The Greek line of support is the key to poise. 

This is the 92d Ralston Principle. The word Greek is used, 
as their line was the familiar vertical or plumb line of stationary at¬ 
titudes in old Greek art, and is a true solution to all normal sup¬ 
port. There are two ways of stating it. In the first one, a line 
carried from the nape of the neck to the heel of the foot that sus¬ 
tained the entire weight of the body should prove to be a vertical 
one, and not inclined out of its perpendicular. Although the line 
strikes the heel, the weight should be placed on the ball of the foot, 
or principally upon the ball. 



CONSERVATION OF VITALITY 


409 


There is a better way of presenting the same law; and 
that is by'saying that the center of the torso should rest directly 
over the ball of the foot that sustains the weight. To the artist the 
vertical line from the nape of the neck seems easier to get at. Now 
suppose the weight to be upon the left foot retired; that is behind 
the right foot; stand in such a way as to bring the lower part of the 
neck directly over the heel of that foot; and the result will be that 
the hip will have to assume a correct opposition in order to effect 
this attitude. Step forward on the right foot, and let the heel of 
that foot come directly under the nape of the neck, which is the 
back part just under the base of the lower brain. When the weight 
is on both feet equally the vertical line should strike the ground at 
a point half way between the two. When part of the weight is on 
•one foot and a greater or less part is on the other, the vertical line 
should strike the ground that much nearer the foot which sustains 
the greater part of the weight. 

From an examination of these attitudes it will be 

■seen that when the nape of the neck passes beyond the vertical line 
of the heel, the body must be either in a parallelism or in a con¬ 
tinuous curve. Look at all the figures given in this part of the 
book and see what of them are in conformity with the present law, 
and what are not. There is a decided breach of poise in each of the 
illustrations shown in Figures 292 to 297; also in Figures 307, 308, 
309 and 310; while the law is well maintained in 306 and 311. By 
referring back to the exercises in physical culture, in the early part 
of this book, it will be seen that the principle of poise is always ob¬ 
served; although those movements are designed to teach strength 
rather than grace. In some of them the weight is on the ball, or 
on the toe with the heel raised, and this advances the line of sup¬ 
port an inch or two. In 80 the body is in the act of changing its 
weight; and in 81 and 82 the running attitude requires the upper 
half of the body to be pitched to suit the balance of the raised foot. 
The only attitudes that depart from this law are those that have 
relationship to some position or movement of convenience or sup¬ 
port; unless they depict character or a faulty condition. In stoop¬ 
ing to pick up something it is possible to maintain the law while 
it is common to break it. In leaning, fainting, using a cane or 
implement of any kind, the laws of grace are departed from in 
ordinary practice; yet in most cases this need not be so. Decrepi¬ 
tude and the faults of age are ungraceful, and should be studiously 
avoided. 


410 


RALSTON CULTURE 



The centers of head, neck and chest should co¬ 
incide. 

This is the 93d Ralston Principle; and it is, perhaps, a very 
technical way of stating a simple law; but its technicality saves a 
long description that would be more verbiage than the principle re¬ 
quires. The centers are of the head, neck and chest. Imagine a 
line to pass directly through the trunk of the body from the middle 
of the stomach to the very heart of the neck, and as far from the 
front, back and sides as it is possible to get it; this would show what 
is meant by the center of the chest. You must keep the mind alert 
so as to recognize what is meant by this lowest of the three centers,, 
and think of that part of the line which is midway between the 
stomach and neck, say in the middle chest. 

The next center is of the neck, and here we must take 
the lower part of the neck as the plane of reckoning. Its use is 
merely that of fixing the union of the highest center with the low¬ 
est, as we shall presently see. The head center is now taken at the 
base, where it joins the top of the neck, and is about under the roots 
of the tongue. If you can fix these three centers clearly in your 
mind, you may begin to put them into execution. In the first place 
it is not enough that the head center be directly over the chest cen¬ 
ter, for this might be done and form a broken, slanted or curved line, 
as may be seen by swinging the shoulders out of an even carriage. 
The middle or neck center must be in the line midway between the 
others, so as to avoid the defect referred to. If the head center is 
carried out of the vertical line so that it does not coincide with the 
others, the neck is craned, it leans forward as in age or in awkward¬ 
ness, or else assumes a backward, or lateral inclination. This prin¬ 
ciple does not interfere with the dramatic attitudes of the head, as 
will be seen by experiment. Here we have an explanation of the 
reason why some persons are ungainly and awkward, although they 
add daintiness and skill to the execution of every movement. A 
head poise is beautiful, even in a plain person, if these simple laws 
are observed; and, on the contrary, the most bewitching individual 
can count nothing for beauty if the laws are broken. 


CONSERVATION OF VITALITY 


411 



The shoulders should be centrally poised. 

This is the 94th Ralston Principle. There are several wrong 
positions that the shoulders assume without your intention or even 
your consciousness. The most common of these is the forward 
leaning, which is due to either habit or weak chest; and in this case 
they are carried in front of their normal poise. Then the careless 
teacher so often instructs pupils to throw the shoulders back that 
the counter deformity is at once seen; they are carried behind their 
normal poise. The true position is midway between these two ex¬ 
tremes. Then another fault is that of raising the shoulders, either 
in breathing, under the supposition that air is assisted in by such an 
abnormal action, or in the belief that high shoulders add to the 
height or impressive strength of the body; while the fact is, they 
make a person look ridiculous. Avoid all these unnatural posi¬ 
tions; keep the shoulders down. 

The vital organs should be raised. 

This is the 95th Ralston Principle. It is stated in brief 
language; as, in the attempt to explain it fully, a large description 
would follow. What we mean by the vital organs includes the 
lungs, the heart, the diaphragm, the stomach, liver and all sur¬ 
rounding and connecting parts. They are held in place by muscles 
or by the aid of muscles. That the entire mass may fall is proved 
by the fact that it is the most common of all errors in the manage¬ 
ment of the body. Generally the chest collapses, owing to the fre¬ 
quency of the sitting position. When the chest frame is raised the 
vital organs may or may not be elevated at the same time. It is 
an easy experiment to hold the chest frame up and allow the vital 
organs to fall. Health and good presence require that the mass be 
carried high at all times, and as a habit. 


412 


RALSTON CULTURE 



The chest should be energized. 

This is the 96th Ralston Principle. By the word energize we 
mean a muscular vitality; and this is next in value to a magnetic 
vitality. To appear well, to possess a properly shaped body, to 
carry the frame in its easiest and most impressive attitude, it is 
necessary that the chest frame, the seat of the personality, should be 
developed not only to assume that position which nature intended 
for it, but to retain as a fixed habit its utmost life. This cannot be 
-done by temporarily inflating it and carrying it about like a puffed 
toad. The forward position should never be excessive. It does not 
indicate anything of value unless it is natural and habitual. This 
may be increased and added to day by day all through life. But 
the chief essential of the present principle is something more than 
the position of the chest frame; it includes the energizing or life- 
force in itself. This always occurs when the feelings are buoyant, 
and it can be made to come by training and education. It is to 
the lungs and heart what glame is to the hands and arms. So valu¬ 
able is the practice of energizing the chest that, if it is done in the 
fresh outdoor air it will quickly revolutionize the health as well as 
give a splendid bearing to the body. 

i i 

Studied repose absorbs all useless motions. 

This is the 97th Ralston Principle. By studied repose is meant 
that which of itself carries the idea of deliberate self-control; and 
this is as much art as if it were nonchalant and had the appearance 
■of abandon. Small motions are ungraceful; they give rise to nerv¬ 
ousness in the individual, and excite feelings of nervousness in 
others who watch the individual. The eye delights to rest upon 
that which is free from the wear and tear of fretful unrest. But the 
loss of prestige in the person is of more consequence, and the real 
damage is done to the good presence of the man or woman who 
lacks the calmness of studied repose. It need not lessen the activity 


CONSERVATION OF VITALITY 


413 


of the general body, or any of its parts, in any practice, or exercise, 
or performance; but it does lead to directness, and calls in all the 
ragged strands that mar the strength of the cable. Let useless 
motions be eliminated. 



Perfect walking maintains the poise of all the 
centres. 

This is the 98th Ralston Principle. When the head leans for¬ 
ward, it is in front of its center; when it is tipped backward it is 
behind its center; and when it is to the right or left, it departs from 
its center. If the chest is bowed or bent downward, its center is car¬ 
ried out of poise; if it is swung backward, the same fault appears;, 
if the shoulders sway to the right on a right foot step, or to the left 
on a left foot step, the fault is repeated. Under this principle the 
poise of all the centers must be maintained, from the central sup¬ 
port on the ball of each foot that in turn sustains the full weight of 
the body, to the center of the chest, of the neck and of the head. 
All this may be constantly observed, yet keep the body pliable,, 
flexible and in its best attitudes of opposition. Thus the hip op¬ 
positions are really necessary to bring the center of the torso over 
the ball of the foot. Poise should be absolutely perfect on either 
foot, so that when a step is taken it carries the full weight of the 
body as easily as if it were an exhibition of fixed repose. 



The face should be uplifted. 

This is the 99th Ralston Principle. As it is so briefly stated, 
a full explanation is necessary. We do not mean to throw the face 
upward toward the sky or ceiling, nor to thrust the chin forward 
and crane the neck, nor to have the head assume the carriage of 
haughtiness and arrogance; but we do mean that the face should not 
reflect the earth, the ground, the low things of life, nor even the 
associate things of life. It ought to be so far uplifted that it re-^ 


414 


RALSTON CULTURE 


fleets the horizon of the sky, just above the landscape of earth. Old 
age is first marked in its approach by the habit of groping toward 
the ground, looking to the soil, and seemingly unaware of the 
beauties and splendors above. The trees, the shrubbery, the sky 
and all its glories are full of attractions that should lift the mind 
out of the commonplace ruts of life. Then hope turns the face up¬ 
ward, while gloom depresses it. 

To understand this principle it is necessary to think it 
out first, and then to put it into practice. The face may be de¬ 
scribed as having five attitudes of elevation; the first is that which 
places it on an average of a parallel with the vertical wall of a room; 
the second depresses it slightly below the first attitude; the third 
lowers it still more; the fourth uplifts it very slightly above the first; 
and the fifth elevates very much. It is the fourth attitude that is 
referred to in our present principle; in which the face is but slightly 
uplifted from a direct frontward presentation; just enough to up¬ 
lift it in the smallest degree. This departure from what is ordi¬ 
narily met with in daily life, is a refreshing change for the better. 
The villain looks down, the honest man looks up. The morbid soul 
looks down; the calm and beautiful character uplifts the face. The 
change is not enough to be considered pronounced; but its effect, 
quiet though it be, is full of attraction and charm; and, whether in 
the drawing room, in the dance, in exercise, in business, or on the 
street, the appearance of the whole body is enhanced by this delight¬ 
ful improvement in the graceful carriage of the head. 



Culture is a mean between two extremes. 

This is the 100th Ralston Principle. The middle ground is 
the vantage realm of all art. In the study of grace if the principles 
are violated by their non-existence in the individual, the result is 
awkwardness; and, if they are adopted by artifice, nothing is ac¬ 
quired but affectation either with or without grace, and this is less 
wholesome than blunt, honest awkwardness. Avoid extremes both 
ways. In the 76th Principle we see that straight lines are the ex¬ 
treme of crudeness; yet the over-curve is the other extreme of 
affectation. In the 83d Principle the middle ground is seen in the 


CONSERVATION OF VITALITY 


415 



support of the body; yet the clumsy person goes to the extreme of 
using the heel for sustaining and carrying the weight, while the 
affected person uses the other extreme of a forward action on the 
toes. In the 90th Principle we learn that the absence of the hip 


opposition is awkwardness; while its over-action is affectation; and 
the middle ground, or mean, is culture. This law follows every¬ 
where and in every direction. To be cultivated, it is necessary to 
avoid the extremes that tempt us either way. 


416 


RALSTON CULTURE 


To see the delicacy with which this law may manifest 

itself look at the illustrations shown in Figures 332 to 343, applying 
the rules of grace to the arm and hand, where they need their most 
practical exemplification. In 332 the easy carriage of the arm is 
seen; being extended without straightness to make it awkward, or 
an over-curve to make it affected. It follows the law of the 77th 
Principle, which says that the central line of beauty is the perfect 
curve of grace. The hand and the two parts of the arm are in 
three opposite directions; the hand dipping just enough to prevent 
a continuous curve. In Figure 333 this condition is made more 
pronounced by the deeper bending at the elbow; while in 334 a 
continuous curve is actually presented, leading from the shoulder 
through the entire length of the arm to the tips of the fingers. In 
335 the same breach of grace is shown in a reversed position; the 
curve running the other way. Of all these attitudes of the arm the 
only one that is perfectly graceful is seen in Figure 332; although 
333 is not ungraceful. These studies may serve in directing the 
use of the arm in the art of expression, as well as in other ways, for 
the laws of grace apply everywhere and under all conditions. 

The hand is so often employed in the portrayal of 
refinement that it may be made the subject of a brief study. In the 
first place, it ought to be understood that the thumb and the four 
fingers are controlled by muscles of their own, which clearly indi¬ 
cates the purpose of nature to give to each digit its separate action. 
If you will watch the motion of the crude man or woman you will 
see that the digits are made to act as though one muscle directed 
them all. On the contrary the gentler and more graceful individual 
will recognize the fact that these separate parts have uses of their 
own, not all united under one operation. An excellent series of 
exercises may be employed to train these fingers to become flexible. 

In the first place the devitalizing or loosening move¬ 
ments are important. These consist in holding the hands so that 
the fingers may hang down, as limp and free as they can possibly be 
made. Move the wrist about while the fingers vibrate like so many 
lifeless strings. Then shake the hands to the right and left, allow¬ 
ing the fingers to dangle like things that lack stiffness. Vary this 
by shaking the hands forward and backward; then in a circle in one 
direction, and in a circle in the reverse direction; afterward up and 
down in a tangled mass. This devitalizes or removes all stiffness. 
Then pay attention to each finger as though it were a separate mem- 


CONSERVATION OF VITALITY 


417 


her. Move the little finger ont and back, then forward and return, 
while the others remain close together, touching each other. Fol¬ 



low this in turn by moving the first finger in the same way, then 
each of the others. Finally split the hand at the fingers so that the 
first two cling together, and the last two also touch, while the sec- 















418 


RALSTON CULTURE 


ond and third separate. Then allow these to touch while the first 
and fourth separate. In a brief time the hand will become more 
graceful because of the independent action of the digits. 

The awkward part of the hand is found at the knuckles, 
where the fingers join the hack of the hand itself. When this is 
given any prominence the grace of the whole hand is marred. A 
line from the wrist to the tips of the fingers should pass the knuckle 
joints without revealing them as prominent features. In Figure 
336 this part is too apparent. Compare the same hand with that 
of Figure 340, where a sweeping and easy curve is maintained from 
the wrist to the ends of the fingers. While the difference is but 
slight, it is very great to the trained eye; and is very much more 
pronounced in the cases of really awkward persons who rarely ever 
give the hand its graceful curve. Figure 337 is the same hand 
turned over; while 341 shows the effect of the slightest change for 
the better; and 343 presents the best position, as the prominence of 
the knuckle is entirely subdued. So Figure 342 is a decided im¬ 
provement over 338; and the two are as nearly alike as it is possible 
to make them, yet have one crude and the other elegant. The fact 
is that the ungraceful hands are merely more prominent breaches 
of the same defects as seen in Figures 336, 337, 338 and 339; and we 
need not, therefore, present them here. Some teachers believe in 
sinking the knuckle joints so as to overcome all tendency toward 
the opposite fault; but that is an extreme that is not really neces¬ 
sary. 



SIXTH DEPARTMENT. 


The Beautiful Minuet. 


Teaching the Most Refined Conduct of fhe Body. 


T HE GLORIOUS, the exquisitely dainty and delicately 
graceful minuet now claims our attention. It has been 
sometimes mentioned in other hooks, even under pretence 
of being taught, hut never in any volume, either of dances, 
steps or other movement, has a single page or line of help been 
given to any person who needed assistance in this the most exact o£ 
all physical arts. Figures, evolutions and other matters have been 
accasionally published in brief form; hut not a word of description 
or of help has ever been given as to how the steps are taken, how 
the body is to he handled and what is to he done to develop that 
ultra degree of grace that is seen in the true experts of this move¬ 
ment. The result is that, when the pleasure is indulged in, a bas¬ 
tard step is taken and all the rest goes to naught. 

THE MINUET occupies a realm that is all its own. We 
mean the true minuet of old and cultured Europe, of the classic 
days of American elegance that hovered about the rich refinement 
of our continental aristocracy like the aroma of fragrant flowers in 
some beautiful garden. We have seen what is called the minuet, 
and in a dozen different forms, but it was not the minuet, nor didn’t 
bear any genuine resemblance to that beautiful step. On the stage 
it is frequently paraded and even accepted as such, but few actors 
have time to learn the true movement, and so they take that which 
will most easily pass curent. We wish to correct the prevailing 
errors, and to present the minuet as it was danced in Europe and is 
still danced to-day; although in fact it is not properly called a dance. 

The step and all the movements of the body furnish 
the most difficult combination of action which it is possible for the 
invention of man to conceive as applied to the human frame. Poise 

( 419 ) 





420 


RALSTON CULTURE 


is more of an essential in the minuet than in any dance; and it is a 
kind of poise that must be exact to the hair’s breadth, or the control 
of the body is marred to that extent; hence this movement is the 
greatest known means of physical refinement. But poise is only a 
beginning. It is doubly taxed by the fact that both feet at times 
are required to take successive steps on one note of the music; some¬ 
thing that never occurs in dancing. Then the free foot in the min¬ 
uet properly belongs in the air, instead of resting on the floor. See 
the free foot in Figure 344. This is always difficult and adds to the 
delicacy of the action. 

Among the other advantages may be mentioned the 
peculiar carriage of the foot. In walking we see the uplifted toes, 
which too often reveal the soles of the shoes; in dancing the more 
graceful persons keep the balls of the feet on or near the floor; but 
the minuet does more than either or both of these, for it teache3 
the prominence of the instep or arched portion of the foot by which 
the sole is made to face away from the front. This proves to be 
of most important advantage to one who seeks the best refinement 
of the body in its steps whether in the drawing room or elsewhere. 
Then every drifting change of the poise to the right or the left sup¬ 
ports of the body, require an opposition of the hips under the laws 
of grace. This is never thought of in any other exercise; and cer¬ 
tainly never occurs in any modem dance. In fact the most beau¬ 
tiful of dances are far from graceful in a finer sense; and it is solely 
because of this lack of opposition. Both sexes, for instance, waltz 
with the body making an obtuse angle at the hips, just as though a 
big jack-knife were about to shut up. The continuous curves seen 
on the modern ball-room floor are far from being graceful, and cer¬ 
tainly are not likely to give refining influences to the body. They 
are utterly lacking in the very essentials of grace and ease. Not so 
in the French and other European methods of the olden days. 

DETAILS OE THE MINUET. 

While there are many false steps in the so-called 
minuet, there are but few in fact, and they belong to the original 
old-time movements, from which no improvement seems to have 
been possible. We propose to give them here in the utmost exact¬ 
ness of detail. If you wish to cultivate the finest graces of the body,, 
to acquire perfect ease, polish, and that high degree of culture that 
most readily distinguishes the true lady and the gentleman from the 


THE BEAUTIFUL MINUET 


421 


common exponent of crude affectation, you can find no means of 
progress so rapid as in the attempt to master the minuet. But you 
should perfectly master it. To do* this you should become familiar 
with its every detail; and not seek results at a leap. There are so 
many details that must he fully absorbed, so many little things that 
are giants in making the grand total, and so much that immediately 
tends to reform the whole body from the feet to the head, that you 
should seek victory in one little detail at a time. 

In the first place there are eight details, or actions, devoted 
to the training of the legs in the minuet; and these must be thor¬ 
oughly understood and correctly performed by an unlimited number 
of repetitions of each detail. In this way, and in this alone, can the 
art be well acquired. It must always he remembered that, while 
these little things are being learned, the whole body is undergoing 
a rapid change for the better. The eight details are: 

1. Poise. 

2. Tapping. 

3. Forward Step. 

4. Recede Step. 

5. Forward Glide. 

6. Recede Glide. 

7. Forward Double. 

8. Recede Double. 

1. The Poise.— A glance at Figure 344 will show the body 
poised on the right foot; with the left raised. The true poise of a 
gentleman in the minuet is a preparation for a step. He must al¬ 
ways take the first step with his left foot; and the lady reverses this, 
taking her first step with the right. In order that the gentleman 
may be ready to use the left foot for the first step, he must have no 
weight upon it. It must he free. His whole body is, therefore, 
sustained on the right foot; and the left is poised in the air. 

Being a right foot poise, leaving the left foot free to take the 
first step, it is called a gentleman's poise. The lady stands on the 
left foot and raises the right for poise. The costume is that which 
we recommend for the modern gentleman indulging in this art. 

The free foot in poise must be so raised as to observe 
three important laws. It must be lifted high, the ankle almost 
coming to the calf of the leg that sustains the weight of the body. 
It must also be held forward; not close to the other leg; but as far 


422 


RALSTON CULTURE 


in advance as possible. The foot or instep must be arched; and that 
is done by turning the toes down so that the sole of the shoe is made 
to face away from the front; so that in fact, a person standing be- 



F 1^.344 

THE POISE. 


hind could see the sole, while a person in front could see only the 
top of the foot. Nothing is coarser in dancing than the lifting of 
the toes and thrusting the sole of the shoe forward. The minuet 
seeks to reverse this. “Poise” is a getting ready. When all are 













TEE BEAUTIFUL MINUET 


428 


about to begin, the signal by word of month or of the piano should 
be given; and, instantly, all persons should assume “Poise.” 

2. Tapping. —This consists in taking the attitude of “Poise” 
to begin with, and then beating the accents of the music with the 
toe of the raised foot. On the first accent the foot comes down to 
the floor, the toe of the shoe making a slight tap, and the foot is at 
once raised to the position of poise. On the second accent the same 
is repeated; and, on the third, it is again repeated, unless the move¬ 
ment calls for a shifting of the action, which is generally the case. 

3. Forward Step. — This is merely the putting down of the 
foot that has been held up in poise. Thus in Figure 344 the left 
foot is raised; and a forward step would consist in advancing the 
body the length of an ordinary step and placing all the weight upon 
it, leaving the right foot in the rear but perfectly free. It is im¬ 
portant to remember that the latter should be near the floor, but 
not on it. 

4. Recede Step. —The minuet is peculiar for its constant 
change of direction; which, if well executed, presents a very beau¬ 
tiful appearance. If you will look again at Figure 344 you will see 
the attitude of poise. When the body has been advanced by placing 
the left foot on the floor, with the right foot in the rear and free, 
this is called a Forward Step. When the right foot moves backward 
the length of a step, and to its former position of poise as seen in 
Figure 344, with the full weight upon it, and the left foot held for¬ 
ward as in the beginning, this is called a Recede Step of the right 
foot. If the right had been advanced, then the left would take the 
recede step; and so on. In the simplest form of the minuet the 
forward step and recede step are much used. 

5. Forward Glide. —The best description of this detail of the 
minuet is that it is a longer step forward than what is termed the 
forward step. In addition to that, it receives a slight impulse by 
the rising action of the foot that sustains the weight, leading to a 
beautiful swing that lends a charm to the movement. 

6. Recede Glide. —This is a long step backward; and what is 
said in the foregoing paragraph will apply here. 

7. Forward Double. —Here the peculiar difficulties of the 
minuet arise. If you analyze the tapping detail, or that of the for¬ 
ward or the recede step, you will find that a shifting from one side 
of the body to the other cannot be secured unless a step is lost or 
due is duplicated. Thus in poise for the gentleman the weight is 


424 


RALSTON CULTURE 


on the right foot; the first step is taken on the left, called a forward 
step, the second is taken on the right by a recede step, and the third 
on the left by a forward step. Now three details in the minuet, ex¬ 
cept mere poise, make a half measure; and these steps should so 
complete the measure that the next or fourth step should reverse it 
and give the lead to the other foot; but this cannot be done, unless 
one of the first three steps be omitted or doubled. Let us analyze 
it and see: 

First Practice. —Stand in gentleman’s poise. On count one, 
forward step; on count two, recede step; on count three, forward 
step; on count four, recede step; on count five, forward step; on 
count six, recede step. This simply brings the body forward and 
back on the same foot for each direction; that is, the left foot always 
goes forward and the right foot always goes back. As a half 
measure consists of three counts* and a whole measure of six counts; 
and as the leading foot should change for each half measure; it is 
wrong to make the six counts as described in this practice. Ladies 
may analyze the same action by taking ladies’ poise at the start; that 
is the weight is on the left foot and the right foot is raised in front. 

Second Practice.— This is done, like the first, simply to show 
the difficulty of adjusting the change of weight. We will now lose 
a poise. On count one, take forward step on left foot; on count 
two, step back on right foot; on count three, step forward on left 
foot; on count four, step forward on right foot; on count five, recede 
on left foot; on six, forward on right foot; on seven, forward on left 
foot; on eight, back on right; and so on. This is the stepping 
minuet; and is affected only by the loss of the poise between counts 
three and four, and between counts six and seven, and every three 
thereafter. 

Third Practice.— “Forward Double .” — On count one, after 
taking gentleman’s poise, step forward on left foot and take lady’s 
poise, which is the same as gentleman’s second poise; that is, the 
weight is put on the left foot forward and the right foot is brought 
in front of that and held in a raised position, as seen in Figure 363. 
The action of passing from gentleman’s poise to lady’s poise on one 
count requires a double step. Now try it. Commence in the atti¬ 
tude of gentleman’s poise, which has the weight on the right foot; 
on count one pass to the attitude of lady’s poise, by a “forward 
double; that is, by taking a step forward on the left foot and at the 
same time swinging the right foot in front and holding it there. 


THE BEAUTIFUL MINUET 


425 


SOME DEFINITIONS. 

Lady’s Poise.— This requires the weight to be on the left foot, 
with the right foot in front and raised. 

Gentleman’s Poise.— This requires the weight to he on the 
right foot, with the left foot raised in front. 

Raised Foot Position.— The sole of the shoe should face 
hack. 

Arched Instep.— The toes of the raised foot should be pointed 
•downward so as to keep the sole of the shoe of the raised foot facing 
backward. 

Half Measure.— The first three counts of a measure; or the 
last three. 

Whole Measure.— All the six counts of a measure. 

With the foregoing definitions we ought to be able to 
proceed for a while. Let the Third Practice be continued by re¬ 
viewing the forward double as stated, then proceeding with another 
forward double as follows: The second forward double is taken by 
changing the lady’s poise to a gentleman’s poise, which requires the 
right foot to be advanced so as to take the whole weight of the body 
and on the same count the left foot must swing to the front. This 
brings the body to gentleman’s poise, the same as at the start, except 
that it is farther forward by two full steps. In order to accomplish 
this artistically the advance must be a decided one on each step, not 
merely putting the raised foot down and supporting the weight 
upon it; but the taking of a liberal step is required in each instance. 
The third practice, therefore, is a series of forward doubles. 

Gentleman’s Bow.— This is quite different from any of the 
ordinary bows seen even in the best society. It is the courtier’s 
bow. Its chief value is in teaching the composure and polish of the 
most beautiful refinement. In Figure 345 we see merely the posi¬ 
tion required for the feet in making the bow. The heel of the right 
foot is brought close up to the instep of the left foot, and the two 
are placed so as to make two sides of a square or a right angle. It 
will be noticed that the gentleman carries the left hand upon the 
hip; and in former days his chapeau or hat was thus supported 
under the left arm. 

Gentleman’s Bow. —Count One .—This requires unusual care 
as to details. It cannot be clumsily executed and pass muster, for 
there are too many little matters to be given proper attention. As 
will be seen very soon, there are four whole measures to the action 


426 


RALSTON CULTURE 


of the minuet; the first whole measure has three counts for one foot, 
to lead, and three counts for the other foot to lead; these are re- 



FijJ. 345. 

GENTLEMAN’S BOW.-EEET POSITION. 

The above costume is recommended for the modern minuet.. 

peated in the second whole measure; and are again repeated in the • 
third whole measure; this last ending on the eighteenth count. On* 





























THE BEAUTIFUL MINUET 


427 


that number the weight should be found on the right foot for a 
gentleman. Then comes the last whole measure, called the “bowing 



Fijg. 346. 

GENTLEMAN’S BOW.-POSITION IN COUNT ONE. 

We are endeavoring to encourage the introduction of the cos¬ 
tume of a hundred years ago for the men of to-day in the minuet. 

measure/’ for all six counts are devoted to this one part of the ac¬ 
tion. Thus, one-fourth of all the minuet movements, steps and de¬ 
tails, is devoted to the bow. This is a very large proportion, and 

































428 


RALSTON CULTURE 


no doubt accounts for the culture and polish which are derived from 
the art. 

Details of the Gentleman’s Bow. —The nineteenth count, 
as we have just seen, is the first count of the “bowing measure/’ and 
•every fourth minuet measure is devoted to bowing. While it is 



Fi• 3 47. 


the nineteenth count, we will refer to it as count one of the bow. 
■On this count one, let the heel of the right foot be brought up to the 
instep of the left foot, touching it; at the same time lower the head; 

















TEE BEAUTIFUL MINUET 


429 


and at the same time* advance the right hand to the front while 
holding it down as low as possible without bringing it nearer than 
eighteen inches to the body. Thus there are three things to be 
done on count one of the bow; namely, to bring the feet together, to 
lower the head a little, and to lower the right hand to the front. 
All the while the left hand rests on the left hip. Now the stepping 
into position for the correct attitude of the feet is called one action; 
it is really a double step, for the left foot is required to determine 
the direction of the bow, and often must move to a certain position, 
while the right foot must invariably come to it; so the two steps are 
necessary for the position of the feet. In such case there are four 
things to be done on count one of the minuet bow; namely: 

Move left foot 

Move right foot 

Lower the head 

Lower the hand 

Practice these as the‘nineteenth count; and keep practicing 
them until they can be smoothly performed. 

Count two of the bow requires the further lowering of the 
head, and the raising of the hand toward the heart; but both these 
motions are very slight, as seen in Figure 347. 

Count three of the bow requires the further lowering of the 
head, and the further raising of the hand toward the heart; the 
torso descending all the time. 

Count four of the bow lowers the head and torso until the 
heart meets the rising hand, as seen in Figure 348, which is a very 
moderate bow for a gentleman. It is low enough to begin with;, 
but a true courtier makes the third count as low as our fourth, and 
the fourth as much lower as possible, even bringing the torso so low 
as to present the back in a horizontal position, or parallel with the 
ceiling. 

Count five of the bow brings the body almost up again to 
the erect position, with the hand down to where it was on count 

one. 

Count six of the bow requires a number of things to be 
executed at once. The weight, which has been on both feet equally, 
must now be suddenly transferred to the right foot, the left foot 
must be raised to the gentleman’s poise; the right hand must be 


All on count one of the gen¬ 
tleman’s bow. 


430 


RALSTON CULTURE 


lifted high and seize the lady’s; and everything done to get in prep¬ 
aration for the first step of the next whole measure. Herein we see 
the necessity of poise; and its value is of the highest order if one 
would avoid failure. Here is a summary of the details of the 

gentleman’s bow. 

Count One.—S ame as Figure 346. 

Count Two. —Same as Figure 347. 

Count Three. —Same as Figure 347 with torso a few inches 
lower. 



F i 0.348 . 


Count Four. —Same as Figure 348. 

Count Five. —Same as Figure 346. 

Count Six.— Gentleman’s poise. 

By following these directions carefully, you may 

quickly learn the full action of the how of the gentleman. Remem¬ 
ber that the rising hand and the lowering torso are continually ap- 






















THE BEAUTIFUL MINUET 


431 


proaching each other from count one to count four; and that the 
..greater this beautiful opposition is made in its range of action, the 
more stately will he the effects. The opposition is made by the op¬ 
posite directions taken by the hand and heart; the hand is coming 
upward and inward toward the heart; and the heart is coming for¬ 
ward and downward toward the hand. You might say that the 
head and hand in both lowering together make a parallelism and 
thus show awkwardness, as being a breach of Ralston Principle No. 
81. This would be true if the head and hand are lowered on the 
same side of the body; hut the threatened parallelism may be averted 
by lowering the hand to the right, and lowering the head to the 
left; thus developing an unusually beautiful opposition. 

The Lady’s Bow. —This is quite different from that which is 
required of the gentleman. On count eighteen, at the end of the 
third dancing measure, she should find herself with the entire 
weight on the left foot, and standing with the right foot raised as 
in the gentleman’s poise. On count nineteen she enters into the 
lady’s bow, which has six counts all coinciding with those of her 
partner; and we will see what these six counts are. 

Count one of the lady’s bow requires her to withdraw her 
right foot to a certain position, to be described soon, and at the 
same time to draw the left foot back and behind the right as far as 
possible; the larger the step, the more graceful will be the bow. 

Count two of the lady’s bow requires that the right leg 
remain straight and unbent at the knee; while the left leg, which is 
in the rear, should be bent more and more at the knee as the body 
descends. 

Count three is the same as two, except that the body is 
lowered. 

Count four is the lowest position that the lady is able to 
take; the lower the better. 

Count five is the same as count one. 

Count six is lady’s poise; that is, the weight is on the left 
foot and the right foot is raised in front, as in Figure 363. 

Directions of the Gentleman’s Bow.— The gentleman finds 
it important to know in what direction to address his bow; and the 
same problem will arise in the lady’s mind. As we have said, the 
left foot of the gentleman must determine in what direction he will 
address his bow; so will the lady’s right foot solve the question for 
her. Let us see what is meant. On count eighteen of the dance 


432 


RALSTON CULTURE 


steps, the gentleman finds his weight on the right foot. The left 
is free. Now he has three directions in which it is possible to bow; 
in front, or to his partner, or to the rear; but never with his own 
back to his partner. If he seeks the first, to bow in front, he must 
on count one of the “bowing measure” move his left foot a little to 
the rear and bring his right foot up against it. If he seeks to bow 
to his partner, he must on the same count move his left foot to a 
left lateral position, bring his right to it, and proceed. If he seeks- 
to bow to the rear he must advance his left foot to the front, turn 
on its ball, bring the right foot up to it, and proceed. This study 
in poise and action is of itself a training school in grace, polish and 
ease. Try it for a while, and see what grand results are derivable' 
from it. No person who graduates from the minuet can fail to be¬ 
come an exquisitely easy and beautiful dancer. In fact it is the 
most speedy way of acquiring natural grace for all purposes in life. 

Directions of the Lady’s Bow. —Here the right foot has the 
power to determine this question. She too may bow to the front, or 
to her partner, or to the rear. If to the front, she must on the first 
count of the bowing measure move her right foot to the rear and her 
left foot directly behind that. If she wishes to bow to her partner' 
she must move her right foot to a right lateral position, and her 
left foot still further to the right lateral beyond the right foot. If 
she wishes to bow to the rear she must step to the front on her right 
foot, turn on its ball, swing the left foot around the right foot still 
further to the front and face to> the rear. All this must be done on 
one count, and is no easy matter. 

The head plays an important part in the beautiful 
effects of the minuet. We will try to show you the difference be¬ 
tween an inclination of the head and a turn. If you look to the 
front and hold the head erect, it is neither turned nor inclined. If 
you look to the front and lean the head to the right, it is inclined 
but not turned. If you hold the head erect and look to the right, 
it is turned but not inclined. If you lean the head to the right and 
look to the right, it is both inclined and turned; but this is a paral¬ 
lelism of head and gaze, though not considered awkward, as the 
laws of grace do not include two operations of the same part. But 
as it is possible to produce some very beautiful oppositions out of 
these attitudes, the minuet long generations ago made use of the 
opportunity, and so we have them. 

The minuet oppositions of the head are most inter- 


THE BEAUTIFUL MINUET 


433 



Fi g. 351. Fi g ,35Z. 

ATTITUDES OF THE HEAD. 

Showing the Oppositions of the Minuet. 


esting. Instead of looking to the front or to the right when the 
head is inclined to the right, the face is turned to the left, as seen in 
Figure 349. Here the inclination is very slight, and this is the safer 
course, for fear of becoming affected; hut the ladies of the courts of 




434 


RALSTON CULTURE 


Europe in the politest society raise the chin higher, incline the head 
more and turn the face farther in its opposition. Then when the 
head is inclined to the left as in Figure 350, the face is turned to the 
right. A hack view of 349 is seen in 351, where the turn is to the 
left and the inclination to the right. Likewise 352 is a reverse of 
350, the turn being to the right and the inclination to the left. The 
gentlemen are required to observe the same inclinations and turns, 
as may be seen in Figures 364, 365, 366 and 367. Other laws come 
into play and will he described presently. 

Laws of Inclination of the Head.— When the weight is on 
the right foot, the law of opposition of the body requires that the 
hip be projected to the right so as to lean in that direction beyond 
the position of the feet. The head always goes with the hip in per¬ 
fect grace, though there are many effective attitudes where this is 
not done at all times. The head seeks naturally to incline toward 
the side of the body which is over the foot that sustains the weight. 
Thus if the weight is on the right foot, the head would incline to the 
right; if the weight is on the left foot, the head would lean to the 
left. The perfect combination of a right foot position is as follows: 
Weight on the right foot, hip leaning to the right, head inclined to 
the right, and face turned to the left. Can you do all this? 

The perfect combination to the left is as follows : weight 
on the left foot, hip leaning to the left, head inclined to the left and 
face turned to the right. It is indeed a most difficult combination; 
it is a training school of grace complete in itself, the greatest in the 
world. Study all these details, resolve not to be discouraged, master 
them. Conquer one a day or one a month, and you will all the time 
be making progress. What is obscure now will be clear in time, 
little by little perhaps, but sure. Some day there will come a pride 
to you as a reward for patient industry in the line of the body's best 
culture. It will pay you then; so do not be discouraged now at the 
seemingly great difficulties involved. 

Use of the Fan.— In the old minuet the gentleman carried 
his chapeau or hat in his left hand, resting on his hip; but we do 
not think this adds materially to the effect. A hat is not a part of 
the drawing room attire. But the lady's fan may be considered as 
a natural incident to her presence in the drawing room. When she' 
is taking the steps the fan may hang free as in Figure 359, or may 
be carried in the left hand, which also holds the skirt of her dress, 
or may be otherwise attached; but it must be available when the 


THE BEAUTIFUL MINUET 


435 


bowing measure is reached. On count one, she should take it in 
her right hand as in Figure 360; on count two of the how she should 



pijg\357. 


^ 0^.358 . 


raise it as the body is being lowered, as in Figure 361; on count 
three she should raise it still higher; on count four she should as¬ 
sume the position as seen in Figure 362, or something similar. 
































436 


RALSTON CULTURE 


The fan may be manipulated in many ways, and much 
of the effective beauty of the minuet on the part of the lady is due 



to this action. In Figure 353 the fan is held directly in front of the 
chest, which is a very natural position. In Figure 354 it hides the 



THE BEAUTIFUL MINUET 


437 


lower half of the face, the eyes peering over it in a very tempting 
manner. In Figure 355 the fan hides a part of the forehead; in 
356 it is placed at the hack of the head; in 357 the lady looks out 
from the right of the fan which is on her left, and in 358 she re¬ 
verses this, looking out from the left side of the fan, which is on her 
right. We present these manipulations with the body apparently 
erect; hut this is done to merely show how the fan may be employed. 

If you will study the single position found illustrated in 
Figure 362 you will see the lady in a. low bow with the fan in the 
attitude of that shown in Figure 355. On her next bow she may 
manipulate the fan in some other way; and so continue until the 
changes have been rung. Naturalness is one of the most potent 
elements of grace; and this cannot come except by incessant and re¬ 
peated practice. The lady is required to raise her left hand on high 
to he taken by the gentleman’s right hand, as seen in Figures 363, 
364 and 365. This allows her right hand to remain free to use in 
guiding her dress as is also seen in 363 and 364. But when she 
makes the bow, she must take her dress in her left hand and the 
fan in her right; and here the manipulation begins. Figure 359 
shows the right hand at the dress; and 360 shows the left hand at 
that garment while the right has seized the fan. In 361 the fan is 
being opened; and in 362 it is in full use. Thus the gentleman 
uses his right hand in one way, and the lady in another; he swings it 
down low to his right on count one of the bow, while she is seizing 
her fan; then his hand seeks his heart, while hers approaches her 
face. To perform these necessary movements requires practice and 
determination. 

FIRST MINUET DANCE. 

This is very plain, and must be regarded as merely introductory. 
Even if so, it is rather beautiful to look upon, and enjoyable to those 
who participate in it. The minuet has so many details of fine ac¬ 
tion that the kind of step employed is of less apparent importance 
to the beginner. We wish you to become an adept, and an expert; 
so we trust that you will diligently persist in perfecting all the little 
details first, especially those involved in the 76th to the 100th 
Balston Principles explained on previous pages of this book; then 
the minuet details must have ample attention. 

The first minuet dance consists of eighteen steps, all 
called the single forward steps; then the bow follows in six more 


438 


RALSTON CULTURE 


counts. We wish to present these twenty-four movements in ana¬ 
lytical form. Look at the music which is printed herewith and 



Fijqr. 363. 


count the accents as they appear in the measures. The numbers 
at the left are those of the musical accents, of which there are six 
to a whole measure, or three to a half measure. 


































THE BEAUTIFUL MINUET 


439 


DETAILS OE FIRST MINUET DANCE. 

Accents. Preparation: Gentleman’s Poise. 

1. Forward step on left foot. 

2. Same on right foot. 

3. Same on left foot. 

4. Same on right foot. 

5. Left foot; all forward steps to end. 

6. Eight foot. 

7. Left foot. 

8. Eight foot. 

9. Left foot. 

10. Eight foot. 

11. Left foot. 

12. Eight foot. 

13. Left foot. 

14. Eight foot. 

15. Left foot. 

16. Eight foot. 

17. Left foot. 

18. Eight foot. 

19. Count one of gentleman’s bow. 

20. Count two of gentleman’s how. 

21. Count three of gentleman’s bow. 

22. Count four of gentleman’s how. 

23. Same as count one of how. 

24. Gentleman’s, poise. 

SECOND MINUET DANCE DETAILS. 

Accents. Preparation: Gentleman’s Poise. 

1. Forward step on left foot. 

2. Eecede step on right foot. Gentleman’s poise. 

3. Forward step on left foot. 

4. Forward step on right foot, passing left foot. 

5. Eecede step on left foot. Lady’s poise. 

6. Forward step on right fopt. 

7. Forward step on left foot, passing right foot. 

8. Eecede step on right foot. Gentleman’s poise. 

9. Forward step on left foot. 

10. Forward step on right foot. 


The Minuet 


:fc 


A A 
Moderato. 


o 

A 


4 

A 


5 

A 


6 

A 




=^=p==E=t=M=~--l:^d= 




i 


■t-- 




~l- 


MOZAET. 


7 8 9 10 11 

A A A A pbwmi A 


12 

A 





25 26 27 28 29 30 31 32 33 34 35 36 




— 

49 50 51 

A A A 

±:S f- * 

52 53 54 

A A A 

r*-* 

5£ 

r -j 

5 

—d 

6 

— 

57 

A 

-i- 

— 

58 

A __ 

— 

58 60 

A A 


C ^ »;- *- £ * - 

• ** - 

3 

J 

ts t 

= 

zati 

1-*-=] 


i_ 

1 

i 

— 


L. 4- j 


P 

































































































































































































The Minuet. —Continued. 


61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 




91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 



A AA AA A A A A .A A A A A A 



A A A A A A A A A 





































































































The Minuet. —Concluded. 



151 152 153 154 155 156 157 158 159 160 161 162 
















































































































































































THE BEAUTIFUL MINUET 


443 


11. Recede step on left foot. Lady’s poise. 

12. Forward step on right foot. 

13. Forward step on left foot. 

14. Recede step on right foot. 

15. Forward step on left foot. 

16. Forward step on right foot. 

17. Recede step on left foot. 

18. Forward step on right foot. 

19. Count one of how. 

20. Count two of how. 

21. Connt three of how. 

22. Count four of bow. 

23. Same as count one of how. 

24. Gentleman’s poise. 

It will he noticed that the gentleman always takes the lady’s 
poise when he stands with the weight on the left foot with the right 
foot raised in front; also that the lady takes the gentleman’s poise 
when she stands with the weight on the right foot with the left foot 
raised in front. These terms are names merely of the first or pre¬ 
paratory attitude of each sex; after which they may apply to either. 
It hardly needs saying that the lady dances the same details as the 
gentleman; and, to learn her steps, it is merely necessary to change 
the words right to left, and left to right. 

The head and body oppositions are arranged according 
to the plan of the dance. They differ materially in these first two 
dances, and we will explain why. Here are two rules of opposition. 

1. When the weight is advanced continually on suc¬ 
cessive steps, the head and hips shift their oppositions on each step. 
Thus in the first dance the weight is advanced on the left foot, then 
on the right, then on the left, and so on; without any receding 
movements; in which case the hip and head inclined to' the left on 
count one; then, on count two, the hip and head incline to the right, 
because the weight is advanced continuously. 

2. When the weight is receded and advanced in turn, 
the oppositions of the hip and head remain fixed throughout a half 
measure. This distinction is of the utmost importance. Thus it 
will he seen in the second dance that on count one the weight is 
carried forward, then is receded on count two, and is again carried 
forward on count three; or, in other words,, it is forward, hack and 


444 


RALSTON CULTURE 


forward, in the half measure. In these three steps, two are taken 
on the left foot, while the recede step is taken on the right foot; 
making two-thirds of the measure a left foot advance. In this case 
the hip swings to the left, and the head inclines to the left on all 
three of the steps, the face being turned to the right, as it is really 
a left-foot half-measure. Then on counts four, five and six the 
weight is advanced on the right foot, retired on the left and again 
advanced on the right; making two-thirds of the half-measure de¬ 
voted to the right-foot action, in which case the hip should he in* 
dined to the right and the head also inclined to the right, the face 
being turned to the left. This requires fewer changes of the oppo¬ 
sition in the second dance, as there is hut one to every three counts; 
while in the first dance there is a change on each count, or six to a 
measure against two to a measure in the second dance. This ren¬ 
ders the latter a more stately movement. 

THIRD MINUET DANCE. 

Aecent. Preparation: Gentleman’s Poise. 

1. Forward double on left foot. Lady’s poise. 

2. Forward double on right foot. Gentleman’s poise. 

3. Forward double on left foot. Lady’s poise. 

4. Forward double on right foot. Gentleman’s poise. 

5. Forward double on left foot. Lady's poise. 

6. Forward double on right foot. Gentleman’s poise. 

7. Forward double on left foot. Lady’s poise. 

8. Forward double on right foot. Gentleman’s poise. 

9. Forward double on left foot. Lady’s poise. 

10. Forward double on right foot. Gentleman’s poise. 

11. Forward double on left foot. Lady’s poise. 

12. Forward double on right foot. Gentleman’s poise. 

13. Forward double on left foot. Lady’s poise. 

14. Forward double on right foot. Gentleman’s poise. 

15. Forward double on left foot. Lady’s poise. 

16. Forward double on right foot. Gentleman’s poise. 

17. Forward double on left foot. Lady’s poise. 

18. Forward double on right foot. Gentleman’s poise. 

19. Count one of bow. 

20. Count two of bow. 

21. Count three of bow. 

22. Count four of bow. 


THE BEAUTIFUL MINUET 


445 


23. Same as count one of bow. 

24. Gentleman’s poise. 

All the foregoing is to be danced by the gentleman. It will 
be noticed that the double steps consist of the movements of both 
feet on one count; as on count one the weight is advanced on the 
left foot and the right foot swings forward in front of it. Lady’s 
poise is as often taken by the gentleman as is his own poise; and 
she takes his poise as often as her own. These terms are merely 
names to distinguish one from the other. Thus when the weight is 
on the right foot and the left foot is raised in front it is always 
known as gentleman’s poise no matter whether taken by him or by 
the lady; and the reverse poise is named likewise the lady’s, whether 
he or she 4 takes it. 

FOURTH MINUET DANCE. 

Accent. Preparation: Gentleman’s Poise. 

1. Forward step on left foot. 

2. Recede step on right foot. Gentleman’s poise. 

3. Forward double on left foot. Lady s poise. 

4. Forward step on right foot. 

5. Recede step on left foot. Lady’s poise. 

6. Forward double on right foot. Gentleman’s poise. 

7. Forward step on left foot. 

8. Recede step on right foot. Gentleman’s poise. 

9. Forward double on left foot. Lady’s poise. 

10. Forward step on right foot. 

11. Recede step on left foot. Lady’s poise. 

12. Forward double on right foot. Gentleman’s poise. 

13. Forward step on left foot. 

14. Recede step on right foot. Gentleman’s poise. 

15. Forward double on left foot. Lady’s poise. 

16. Forward step on right foot. 

17. Recede step on left foot. Lady’s poise. 

18. Forward double on right foot. Gentleman’s poise. 

19. Count one of bow. 

20. Count two of bow. 

21. Count three of bow. 

22. Count four of bow. 

23. Same as count one of bow. 

24. Gentleman’s poise. 


446 


RALSTON CULTURE 


SECOND STEP OE THE MINUET. 

The gentleman is in lady's poise, and the lady is in gentleman's 
poise. She has modern costume; he the old-time dress, which we 
recommend. 



Fhj. 3 64. 


Fi£.36!>. 


In the foregoing dance, three different details are used; the 
forward, the recede step and the forward double; thus developing 
a very pretty combination of action. 























































THE BEAUTIFUL MINUET 


FIFTH MINUET DANCE. 

Accent. Preparation: Gentleman's Poise. 

1. Forward double on left foot. Lady's poise. 

2. Forward step on right foot. 

3. Recede step on left foot. Lady's poise. 

4. Forward double on right foot. Gentleman's poise. 

5. Forward step on left foot. 

6. Recede step on right foot. Gentleman's poise. 

7. Forward double on left foot. Lady’s poise. 

8. Forward step on right foot. 

9. Recede step on left foot. Lady's poise. 

10. Forward double on right foot. Gentleman’s poise. 

11. Forward step on left foot. 

12. Recede step on right foot. Gentleman's poise. 

13. Forward double on left foot. Lady's poise. 

14. Forward step on right foot. 

15. Recede step on left foot. Lady's poise. 

16. Forward double on right foot. Gentleman's poise. 

17. Forward step on left foot. 

18. Recede step on right foot. Gentleman's poise. 

19. Count one of bow. 

20. Count two of bow. 

21. Count three of bow. 

22. Count four of bow. 

23. Same as count one of bow. 

24. Gentleman's poise. 

SIXTH MINUET DANCE. 

Accent. Preparation: Gentleman's Poise. 

1. Tap with left foot. Gentleman's poise. 

2. Tap with left foot. Gentleman's poise. 

3. Forward double on left foot. Lady's poise. 

4. Tap with right foot. Lady's poise. 

5. Tap with right foot. Lady's poise. 

6. Forward double on right foot. Gentleman's poise. 

7. Tap with left foot. Gentleman's poise. 

8. Tap with, left foot. Gentleman's poise. 

9. Forward double on left foot. Lady’s poise. 

10. Tap with right foot. Lady's poise. 


448 


RALSTON CULTURE 


11 . 

12 . 

13. 

14. 

15. 

16. 


17. 

18. 

19. 

20 . 
21 . 
22 . 


23. 

24. 


Tap with right foot. Lady’s poise. 

Forward double on right foot. Gentleman’s poise. 
Tap with left foot. Gentleman’s poise. 

Tap with left foot. Gentleman’s poise. 

Forward double on left foot. Lady’s poise. 

Tap with right foot. Lady’s poise. 

Tap with right foot. Lady’s poise. 

Forward double on right foot. Gentleman’s poise. 
Count one of bow. 

Count two of bow. 

Count three of how. 

Count four of how. 

Same as count one of bow. 

Gentleman’s poise. 


In the sixth dance, as above, a contrary opposition is executed, 
which is very pretty if done well. On count one, which is a tap with 
the left foot, the head and upper part of the body should lean to the 
left oblique front, thus making a continuous curve with the whole 
body, which is not ungraceful as it is not an attitude but an action, 
and a shifting one at that. The advance of two parts of the body, 
not continuous, makes an opposition, as has before been stated. On 
count two the tap of the left foot is repeated. On count three a 
double forward step is taken on the left foot, resulting in lady’s 
poise; and throwing the head and upper torso over in a right oblique 
front attitude to balance the upraised right foot. Then two taps 
are made with that foot on counts four and live; and on count six 
the double forward step is taken on the right foot, resulting in 
gentleman’s poise; and so on to the end. The beauty of this dance 
consists in raising the foot very high in the obliques, and bending 
over very low in the same direction. 


SEVENTH MINUET DANCE. 

Accents. Preparation: Gentleman’s Poise. 

1. Forward step on left foot. 

2. Recede step on right foot. Gentleman’s poise. 

3. Forward double on left foot. Lady’s poise. 

4. Forward step on right foot. 


THE BEAUTIFUL MINUET 


449 


THIRD STEP OE THE MINUET. 

Showing the attitude also of a “Forward double,” when taken 
as the sixth step of a full measure. It is also the attitude of prep¬ 
aration before the first step; showing lady’s poise and gentleman’s 
poise. 



F i^. 3 6 6 . 3'67. 


5. Recede step on left foot. Lady’s poise. 

6. Forward double on right foot. Gentleman’s poise. 

7. Forward step on left foot. 

8. Recede step on right foot. Gentleman’s poise. 

9. Forward double on left foot. Lady’s poise. 




















































450 


RALSTON CULTURE 


10. Forward step on right foot. 

11. Recede step on left foot. Lady's poise. 

12. Forward double on right foot. Gentleman’s poise. 

13. Forward step on left foot. 

14. Recede step on right foot. Gentleman’s poise. 

15. Forward double on left foot to lady’s place. 

16. Forward step on right foot. 

17. Reverse recede step on left foot. Lady’s poise. 

18. Forward double on right foot. Gentleman’s poise. 

19. Count one of bow. 

20. Count two of how. 

21. Count three of how. 

22. Count four of how. 

23. Same as count one of how. 

24. Gentleman’s poise. 


THE TURN. 

On count thirteen in the foregoing dance, the gentleman re¬ 
leases the lady’s left hand and she gives him her right hand in place 
of it as in Figure 368. As the execution of the minuet turn is the 
most difficult step known, whether in this or any other form of 
dancing, we feel called upon to explain it as fully as possible. In 
the first place you must hear in mind that at the end of the first 
two measures, or on count twelve, the gentleman and lady are facing 
forward, he holding her raised left hand in his right. On count 
thirteen she gives him her right hand, which he takes in his right, 
and both take a step; she seeking to walk around him by taking her 
first step just behind his heels. But he has also taken a step, in en¬ 
deavoring to walk around her. Figures 368 and 369 show them 
when they have succeeded far enough to have reversed positions; 
she being on his left as he faces forward; but the next step will bring 
them face to face. After the third measure is completed, they will 
bow, face to what was the rear of the first advance, she will then be 
on his right side, he will take her left hand in his right hand, and 
continue in the opposite direction from that first taken. 

The difficulty of this turn will become apparent when it 
is attempted. No picture can explain it; indeed, an illustration is 
of but little value. We will try with words to make it clear. In 
the first place you must remember that the goal of the gentleman is 


THE BEAUTIFUL MINUET 


451 


to cross over to the lady’s place; that is all. She, likewise, seeks to 
come to his position; the purpose being to have her on his right 
when they dance the measures back to their original starting point. 
He takes the thirteenth step in front of her; she takes the same back 
of him; but as both are actually turning, they really face each other. 
The question might be asked, why does not the lady pass in front 
of the gentleman? This cannot be done, if he uses his right hand 
to guide her. Let us see what details are involved in the present 
action; then we can study the use of the left hand in later changes. 

* A DIFFICULT POSITION IN THE TURN. 

This is fully described in the accompanying pages. We recom¬ 
mend a modem dress for the lady and the old-time dress for the 
gentleman. 

The fifth step of the turn is the only very difficult move¬ 
ment. This is count seventeen of the seventh minuet dance, and 
is called the reverse recede step. We will lead up to it. On count 
thirteen the gentleman attempts to walk in front of the lady by step¬ 
ping in the right lateral direction with his left foot. This causes 
him to turn partly around so as to face her as she is attempting to 
execute the step behind him on her right foot. This much should 
be easy to do. Then both take a recede step, he back on his right 
foot; she back on her left foot; while he holds her right hand in his 
right hand. Then both take a double step, he toward the position 
she occupied; and she toward that he occupied; he a forward double 
on the left foot; she a forward double on the right foot; leaving him 
in lady’s poise, and her in gentleman’s poise. Now comes the 
fourth step, and the situation soon becomes difficult. He takes a 
forward step to the right side with his right foot and stands on that 
foot in the exact position that she occupied on the twelfth count; 
she takes a forward to the left side with her left foot and occupies 
the exact position that he occupied on the twelfth count. Now 
comes the hardest of all; the movement that few can understand 
until they have practiced it many times. His back is to her, and 
hers to him; but on count seventeen, or the fifth step of the turn, he 
takes a reverse recede step on the left foot, and she takes a reverse 
recede step on the right foot. This step turns the body completely 
around. He advances the left foot farther to the right lateral posi¬ 
tion and turns the body on the ball of the left foot, facing her. She 
advances the right foot farther to the left lateral position, turns Qn 


452 


RALSTON CULTURE 


the ball of the right foot and faces him. The step would be an ad¬ 
vance but for the fact that the body turns upon it and leaves it in 
a recede position; besides which, it occurs on the count where a re¬ 
cede step is called for. 



^',5-368. Rj.369. 

Now both persons are facing each other, she in his 
place and he in hers. They have yet the eighteenth count to ex¬ 
ecute, which is a forward double toward each other, resulting in the 
proper location for the bow. Each bows in the counts from nine- 


















THE BEAUTIFUL MINUET 


453 


teen to twenty-four;, ending by his taking gentleman’s poise on 
twenty-four, and her taking lady’s poise. This is the preparation 
for the dancing of the same steps over again from count one to 
twelve, hack to their original location; then the turn; then the how ; 
and so continue. It must be remembered that, when a couple has 
danced twelve steps they are nearly across the room unless it is un¬ 
usually large; and they must get hack again without breaking the 
action. There are several ways in which they can go back; the 
least desirable of which is allow the lady to return on the gentle¬ 
man’s left, he holding her right hand in his left. This would per¬ 
mit eighteen counts to be stepped, then the bow, then the return; 
and so on. But twelve counts are sufficient in one direction in a 
small room; and. are also sufficient for one kind of action; so they 
turn and thus employ the third whole measure, counts thirteen to 
eighteen, in exchanging places; and the bow always takes the fourth 
whole measure. 

EIGHTH MINUET DANCE. 

Accent. Preparation: Lady’s poise for both partners. 

1. Tap to right lateral with right foot. 

2. Tap to right lateral with right foot. 

3. Forward double to right lateral with right foot. Gentle¬ 

man’s poise. 

4. Tap to right lateral with left foot. 

5. Tap to right lateral with left foot. 

6. Forward double to right lateral with left foot. Lady’s 

poise. 

THE LATEKAL STEPS. 

These are very beautiful and somewhat difficult. The chest 
must face to the front, while the feet and body move to the side 
for eighteen steps. 

7. Tap to right lateral with right foot. 

8. Tap to right lateral with right foot. 

9. Forward double to right lateral with right foot. Gentle¬ 

man’s poise. 

10. Tap to right lateral with left foot. 

11. Tap to right lateral with left foot. 

12. Forward double to right lateral with left foot. Lady’s 

poise. 

13. Tap to right lateral with right foot. 


454 


RALSTON CULTURE 


14. Tap to right lateral with right foot. 

15. Forward double to right lateral with right foot. Gentle¬ 

man’s poise. 

16. Tap to right lateral with left foot. 

17. Tap to right lateral with left foot. 

18. Forward double to right lateral with left foot. Lady’s 

poise. 



Fujf.371. 

19. Count one of bow\ 

20. Count two of how. 

21. Count three of how. 

22. Count four of how. 

23. Same as count one of how. 


F'lJJ ,370. 
























THE BEAUTIFUL MINUET 


455 


24. Gentleman’s poise for both partners. 

25. Tap to left lateral with left foot, 

. 26. Tap to left lateral with left foot. 

• 27. Forward double to left lateral with left foot. Lady s poise. 

28. Tap to left lateral with right foot. 

29. Tap to left lateral with right foot. 

30. Forward double to left lateral with right foot. Gentle¬ 

man’s poise. 

31. Tap to left lateral with left foot. 

32. Tap to left lateral with left foot. 

33. Forward double to left lateral with left foot. Lady’s poise. 

34. Tap to left lateral with right foot. 

35. Tap to left lateral with right foot. 

36. Forward double to left lateral with right foot. Gentle¬ 

man’s poise. 

37. Tap to left lateral with left foot. 

38. Tap to left lateral with left foot. 

39. Forward double to left lateral with left foot. Lady’s poise. 

40. Tap to left lateral with right foot. 

41. Tap to left lateral with right foot, 

42. Forward double to left lateral with right foot. Gentle¬ 

man’s poise. 

43. Count one of bow. 

44. Count two of bow. 

45. Count three of bow. 

46. Count four of bow. 

47. Same as count one of bow. 

48. Lady’s poise for both partners. 

The foregoing dance is used for the purpose of trans¬ 
ferring a column from one side of the room to the other. All the 
steps are lateral. The chest must face to the front in the execution 
of every step; while the feet move to the lateral or side. If this 
rule is not observed the whole effect is marred. It requires great 
suppleness and grace of body to keep the chest facing to the from 
while the feet are moving sidewise. "The first eighteen counts wiL 
transfer the column to the right side of the room; then comes the 
bow- and the next eighteen counts (twenty-five to forty-two) wilt 
re-transfer the body to the left side of the room; the second bow 
° completing. When there are two columns of dancers, one on the 


456 


RALSTON CULTURE 


right and the other on the left, the former must start off with the 
left foot tapping, every step being the reverse of that we have de¬ 
scribed. This enables the right hand column to move to the posi¬ 
tion occupied by the left, while the left is moving to the position 
occupied by the right. In such cases it may be desirable to not re¬ 
transfer until some other dance has been executed. Remember that 
partners in the eighth minuet dance must cross arms, as in Figures 
370 and '371, the gentleman taking the lady’s right hand in hi 3 
right, while the left arm is underneath. Also remember that both 
partners start off with the same foot, and do not use opposite steps 
in these movements. 

THE TURN ON THE SAME FOOT. 

By the same foot is meant the right foot action by both 
partners on the same count; or the left foot action by both partners 
on the same count. In the eighth minuet dance it will be noticed 
that, when the partners move to the right, they both advance the 
right foot at the same time; and so on. In case a turn is desired, 
it will be necessary to retain this “same foot” action; that is, the 
left feet must be raised on the same count, as in Figures 372 and 373; 
and the next step would require the right feet to be raised simul¬ 
taneously; and so on. To do this, the gentleman takes the lady’s 
left hand in his left on count one of the turn,; which, in the instance 
of both partners having started with the right foot action, would 
run as follows: 

1. Forward step on right foot. 

2. Recede step on left foot. 

3. Forward double on right foot. Gentleman’s poise, as seen 

in Figures 372 and 373. 

4. Forward step on left foot. 

5; Reverse recede step on right foot. 

6. Forward double on left foot. Then the bow. 

If both partners start with the left foot action, the attitudes 
seen in Figures 372 and 373 would be made on the first count of the 
turn. Another method of taking hands for exactly the same move¬ 
ment is seen in Figures 374 and 375; wherein the gentleman takes 
the lady’s right hand in his left for the turn. We present a series 
of these attitudes, especially those that are applicable to the shifting 


THE BEAUTIFUL MINUET 


457 



Fig.372. 


F 15.373. 


A LENT HAND TURN. 

This is necessary at certain stages of the evolutions. 

























































458 


RALSTON CULTURE 


of columns and partner’s lines; some suiting one action, and some 
another. Real practice is the best teacher. 0 



Fuj.3 74. F\j}.375. 

AN OPPOSITE TURN. 

Ordinarily the gentleman takes the lady's right hand in his 
right for a turn; but when he wishes to pass around her in an oppo¬ 
site direction he may take her right hand in his left. 

NINTH MINUET DANCE. 

This requires a set of four couples, all the gentlemen in a line, 
each facing forward; and, on their right, in another line, the four 
ladies stand, also facing forward. These two lines constitute a 























THE BEAUTIFUL MINUET 


459 


column; although a column may contain less than three couples 
and more than four if the required number are not available. The 
regular minuet column may he seen in Figure 376. Evolutions in 
the minuet are very numerous, and furnish a fruitful field of in¬ 
vention for any person who is skilled in resources of the mind. 
We present in this dance some of the most beautiful; being largely 
made up of those already described. 

Accent. Preparation: Both poises. 

1. All forward step. 

2. Recede step. 

3. Forward double. 

4. Forward step. 

5. Recede step. 

6. Forward double. 

7. Forward step. 

8. Recede step. 

9. Forward double. 

10. Forward step. 

11. Recede step. 

12. Forward double. 

. 13. First step of turn (count thirteen) of seventh minuet dance. 

14. Second step of turn. 

15. Third step of turn. 

16. Fourth step of turn. 

17. Reverse recede step of turn. 

18. Sixth step of turn. Lines are now facing backward. 

19. Count one of bow. 

20. Count two of bow. 

21. Count three of bow. 

22. Count four of bow. 

23. Same as count one of bow. 

24. Both poises. All facing back for return. 

25. All forward step; in backward direction. 

26. Recede step. 

27. Forward double; backward direction. 

28. Forward step; backward direction. 

29. Recede step. 

30. Forward double; backward direction. 

31. Forward step; backward direction. 



460 


RALSTON CULTURE 


32. Eecede step. 

33. Forward double; backward direction. 

34. Forward step; backward direction. 

35. Eecede step. 

36. Forward step; backward direction. 

37. First step of turn (count thirteen) of seventh minuet dance. 

38. Second step of turn. 

39. Third step of turn. 

40. Fourth step of turn. 

41. Eeverse recede step of turn. 

42. Sixth step of turn. Lines are now facing forward. 

43. Count one of bow. 

44. Count two of bow. 

45. Count three of bow. 

46. Count four of bow. 

47. Same as count one of bow. 

48. Both poises. 

49. Partners face each other by turning on the ball of the foot, 

and take forward step toward each other. 

50. Eecede step from each other. 

51. Forward double toward each other. 

52. Eecede double from each other. 

53. Eecede double from each other. 

54. Eecede double from each other. 

These last three steps open the column, to prepare the way for 
the couple to come up the center. A recede double is a movement 
backward with the foot that is uplifted, followed by the other foot 
also moving backward and passing the former. 

All four couples now face forward, as in Figures 376 and 377; 
though the steps are not to be the same; and the lines are still open. 
The first, second and third couples raise their hands as though the 
gentlemen were to hold the ladies 5 hands; but, as the lines are too 
far apart, they cannot touch. The rear or fourth couple will come 
up the center, between the raised hands; but the rear couple will 
have hold hands as in Figures 366 and 367, with them lifted as high 
as possible, so as to bring the rear partners close to each other, as the 
room is limited in this evolution. 



THE BEAUTIFUL MINUET 


461 


55. First three couples tap: Rear couple starts to come up the 

center between the lines of the other three couples; and, 
on this count, executes the forward double step. 

56. Same as 55. 

57. All forward double. 

58. Same as 55. 

59. Same as 55. 

60. All forward double. 

61. Same as 55. 

62. Same as 55. 

63. Rear couple forward double. First three couples recede 

double glide. 

64. Same as 55. 

65. Same as 55. 

66. Same as 63. 

67. All execute count one of bow. 

68. Also count two of how. 

69. Count three of bow. 

70. Count four of how. 

71. Same as count one of how. 

72. Both poises. 

At the end of 66, the two lines of the column should he in the 
same position as at the start, except that the fourth couple has come 
to the front and the third couple is left in the rear. The latter will 
now he called the rear couple until it has, in its turn, come to the 
front. 

73. Partners face each other by turning on the hall of the foot, 

and take forward step toward each other. 

74. Recede step from each other. 

75. Forward double toward each other. 

76. Recede double from each other. 

77. Recede double from each other. 

78. Recede double from each other. 

79. The three couples tap, while the rear couple (formerly the 

third couple) starts to come up the center with forward 
double step. 

80. Same as 79. 

81. All forward double. 

82. Same as 79. 



462 


RALSTON CULTURE 


83. Same as 79. 

84. All forward double. 

85. Same as 79. 

86. Same as 79. 

87. Bear couple forward double. First three couples recede 

double glide. 

88. Same as 79. 

89. Same as 79. 

90. Bear couple forward double. First three couples recede 

double glide. 

91. All execute count one of bow. 

92. Also count two of bow. 

93. Count three of bow. 

94. Count four of bow. 

95. Same as count one of bow. 

96. Both poises. 


At the end of 90, the two lines of the column should be in the 
same position as at the start, except that the third couple has come 
to the front and the second couple is left in the rear. The latter 
will now be called the rear couple until it has, in its turn, come to 
the front. 

97. Partners face each other by turning on the ball of the foot, 

and take forward step toward each other. 

98. Recede step from each other. 

99. Forward double toward each other. 

100. Recede double from each other. 

101. Recede double from each other. 

102. Recede double from each other. 

103. The three couples tap, while the rear couple (formerly the 

second couple) starts to come up the center with forward 
double step. 

104. Same as 103. 

105. All forward double. 

106. Same as 103. 

107. Same as 103. 

108. All forward double. 

109. Same as 103. 

110. Same as 103. 


THE BEAUTIFUL MINUET 


463 


111. Rear couple forward double. First three couples recede 

double glide. 

112. Same as 103. 

113. Same as 103. 

114. Rear couple forward double. First three couples recede 

double glide. 

115. All execute count one of bow. 

116. Also count two of bow. 

117. Count three of bow. 

118. Count four of bow. 

119. Same as count one of bow. 

120. Both poises. 

At the end of 114, the two lines of the column should be in 
the same position as at the start, except that the second couple has 
come to the front and the first couple is left in the rear. The latter 
will now be called the rear couple until it has, in its turn, come io 
the front. 

121. Partners face each other by turning on the ball of the foot, 

and take forward step toward each ether. 

122. Recede step from each other. 

123. Forward double toward each other. 

124. Recede double from each other. 

125. Recede double from each other. 

126. Recede double from each other. 

127. The three couples tap, while the rear couple (formerly the 

first couple) starts to come up the center with forward 
double step. 

128. Same as 127. 

129. All forward double. 

130. Same as 127. 

131. Same as 127. 

132. All forward double. 

133. Same as 127. 

134. Same as 127. 

135. Rear couple forward double. First three couples recede 

double glide. 

136. Same as 127. 

137. Same as 127. 


464 


RALSTON CULTURE 


138. Rear couple forward double. First three couples recede 

double glide. 

139. All execute count one of bow. 

140. Also count two of bow. 

141. Count three of bow. 

142. Count four of bow. 

143. Same as count one of bow. 

144. Both poises. 

At the end of 138, the two lines of the column should be in the 
same position as at the start, for now the first couple has come to the 
front and the fourth couple is left in the rear. 

145. All forward step. 

146. Recede step. 

147. Forward double. 

148. Forward step. 

149. Recede step. 

150. Forward double. 

151. Forward step. 

152. Recede step. 

153. Forward double. 

154. Forward step. 

155. Recede step. 

156. Forward double. 

157. First step of turn (count thirteen) of seventh minuet dance. 

158. Second step of turn. 

159. Third step of turn. 

160. Fourth step of turn. 

161. Reverse recede step of turn. 

162. Sixth step of turn. Lines are now facing backward. 

163. Count one of bow. 

164. Count two of bow. 

165. Count three of bow. 

166. Count four of bow. 

167. Same as count one of bow. 

168. Both poises. All facing back for return. 

169. All forward step; in backward direction. 

170. Recede step. 

171. Forward double; backward direction. 

172. Forward step; backward direction. 


THE BEAUTIFUL MINUET 


465 


173. Recede step. 

174. Forward double; backward direction. 

175. Forward step; backward direction. 

176. Recede step. 

177. Forward double; backward direction. 

178. Forward step; backward direction. 

179. Recede step. 

180. Forward step; backward direction. 

181. First step of turn (count thirteen) of seventh minuet dance. 

182. Second step of turn. 

183. Third step of turn. 

184. Fourth step of turn. 

185. Reverse recede step of turn. 

186. Sixth step of turn. Lines are now facing forward. 

187. Count one of bow. 

188. Count two of bow. 

189. Count three of bow. 

190. Count four of bow. 

191. Same as count one of bow. 

192. Both poises. 



o 


466 


RALSTON CULTURE 





o 

- 4 -=> 

r~j 

P 

-M 

P 


o 

P 

o 

0 > 

CO 

'd 

0 > 

p 

?H 

o 

Ph 

o 

o 

a> 

?H 

CO 

CO 

<D 

<v 

rP 

T 3 



2 


U3 

N 

oo 

tY] 

il 


ci 

CD 

H-S 

T5 

rH 

c3 


o 

m 

• rH 

o 

Ph 

co 

K*% 

HO 

c3 

2 es 

H ,rH 

O O 

c3 

M 53 

5 2 

R 

P cj 
o S 
^ W) 

<v 

rP 


p4 

o 

gq 

•T3 

P 

£ 

Jh 

O 


GQ 

• rH 
-4-5 

P 

P 

o 

o 

CO 

b - 

C4U ^ 


0> 

f—H 

rO 

O 
O 

ft 

HO 

f-l 

c3 

of £ 
o ?_ 
O C 

HO ~ 


CD 

rO 

H-H 

o 

o 

rP 

£ 


o 

co 


o CO 

r-j • rH 

0 - 1 - 3 

o -3 G 

P-i s p 

o 

CO rH o 


5h ~ 

• rH ^ 

<£j CO 

H—5 • rH 






























THE BEAUTIFUL MINUET 


467 




lliis is also the pieparation for the first step of any whole measure. The usual measure has three accents ; 
but it requires six accents to complete the full action of both feet before a repetition is necessary, and this is 
called a whole measure. 






















468 


RALSTON CULTURE 



Showing modem dresses for the ladies and the old-time costume for the gentlemen ; which we recommend. 















THE BEAUTIFUL MINUET 


469 


GKEATNESS OF THE MINUET. 

Too much cannot be said in favor of this grandest of all 
means of refinement, as well as of dignified pleasure. It is not a 
dance. It is called a d&nce for convenience only, as no other word 
is so useful when referring to it; hut it lacks all the objectionable 
elements of the dance, while retaining everything that gives relief 
to the weary, pleasure to all and a wholesome air of enjoyment to 
every occasion. It is impossible to he rude, or to do a rude thing in 
the minuet. It is impossible to indulge in any kind of undue fa¬ 
miliarity or boisterous action. And it is impossible to spend an 
hour in this practice without finding the body and all the graces of 
mind and heart coming rapidly forward in the true line of develop¬ 
ment. 

Every family should insist that all its members, young 
and old, should learn the minuet. A school ought to be established 
in every county and in every important part of each county and city, 
where the genuine minuet is honestly and skilfully taught. More 
properly there should he in every such place, a school of Ralston 
Culture, where the perfect system of physical training which con¬ 
stitutes the greater part of this hook, should he taught; and, in con¬ 
nection therewith, all the principles of grace and culture that follow 
herein; hut more particularly the glorious minuet. Will it pay? 
It certainly will. The age demands such schooling and such train¬ 
ing. There is nothing better if health and culture are desired; and 
they are the best foundations of all else. 

In America alone there are fully 100,000 good locations 
where such schools could be established and be made to pay; if the 
teachers were really qualified to command the respect of the public. 
We recommend a course of two regular school years in Ralston Uni¬ 
versity at Washington, D. C., which would occupy only about 
eighteen months of time; from the last of October to the first of the 
following May; then a vacation of six months for practice; and from 
the last of the next October to the next following May; being really 
one whole year of training. That institution prepares its pupils to 
actually take charge of classes, to teach, talk, lecture, and entertain, 
as well as to exemplify all the exercises in the present volume from 
one end to the other; and herein is a world of training in itself. U 
you cannot spare eighteen months out of your life, you could devote 
the time of one school year, six months, to learn the theory and 
practice; after which you would be amply able to develop the full 



470 


RALSTON CULTURE 


method of training by yourself; apd this certainly is the next best 
thing to the two school years. In any event, yon can become your 
own teacher by the aid of the present volume, as far as its systems of 
culture are concerned; although one who is called upon to teach the 
public should by all means be a graduate of a school of expression. 

There is already a demand for the minuet, and more 
particularly a very great demand for its refining influences in con¬ 
nection with Ralston Culture. Everywhere the people, the schools, 
the heads of educational government, are demanding good systems 
of physical training and skilled teachers to introduce them; and the 
only perfect system is that known as the Ralston. Wherever it has 
come into competition or comparison with any other method, it is 
at once pronounced the superior. Its future is assured as that of 
the world’s leading system of physical culture. You should be 
ready for it. You should do all that is in your power toward estab¬ 
lishing a school of Ralston Culture in your community or in some 
place equally available; and, if you do not feel qualified to teach at 
once you should form the acquaintance of some graduate of Ralston 
University, of Washington, D. C. If you wish a legalized charter 
on which to base your institution, all you need do is to apply prop¬ 
erly to Ralston University, and such charter will be granted freely, 
without cost or expense of any kind. There must be at least twelve 
earnest and sincerely interested persons in the same locality, who 
are of the Tenth Star Degree and possess this volume of Ralston 
Culture. They may easily acquire the book, if they possess execu¬ 
tive ability sufficient to lay the foundation of an institution that, 
however humble may be its origin, should develop some day into one 
of the most influential and powerful of schools in the future. 

The twelve persons, whether ladies or gentlemen, may 
become charter members of the 

SCHOOL OF RALSTON CULTURE OE YOUR LOCALITY. 

When that number apply we will gladly send them full instruc¬ 
tions free of all charge. The early meetings should be held in the 
homes of the members until the institution is of sufficient strength 
to warrant engaging a regular hall; and some day the result will 
be a magnificent building that shall do honor to your efforts. If 
you need a teacher of more experience than you possess, we can 
direct you to such an one, after the school has been founded. Re¬ 
member that all this while you are put to no expense. Also remem- 


THE BEAUTIFUL MINUET 


471 


ber that you must not use the name Ralston in connection with any 
system of ours, unless you are legally authorized to do so, and can 
show the charter, which should he hung upon the wall of the room 
wherein each meeting is held. We shall assist you in every way 
that is possible; for we firmly believe that schools of Ralston Culture 
will soon spring up all over America, and that they will accomplish 
much good. The field is a new one. Who will be the first to 
enter it? 


KALSTON MAY DANCE. 

We have been asked many times to give directions for 
the execution of a suitable dance on Ralston Day in May, which is 
the first Tuesday in that month. The main requisites are tempting 
music, lightness, a beauiful step and variety of action. We select 
herewith from the airs previously used in the first half of this book, 
a few that are important in their application to the movements of 
the feet, which must be quick and spirited without danger of 
fatigue. 

The first thing to be done is to select a dry piece of 
ground, or a hall or room where all likelihood of catching cold or of 
exposure to dampness may be avoided. It must be remembered 
that wet or damp ground, or grass, will quickly draw the vitality 
from the body and leave it a prey to the first chill. To be on the 
safe side, it is better to use a hall, school-room or house for the Ral¬ 
ston May Dance. In the first place there should be flowers of all 
kinds as far as available; for their rich perfume cannot fail to give 
pleasure and add to the charms of the occasion. 

It is the custom of many peoples to erect a May Pole, 
duly garlanded; and dance about it regardless of weather, damp¬ 
ness or chills. The question of having a pole may be left to your 
own judgment, which will doubtless be influenced by the wishes of 
the people and the circumstances. It may be inconvenient; or there 
may be no suitable place wherein to set it; or the expense and 
trouble may be too great. In any event, the following evolutions 
are possible whether you decide to have a pole or not: 

In the centre there are two kings and two queens, repre¬ 
senting the Four Cardinal Points of Ralstonism. They carry red 
colored ribbons. They stand closest to the pole, in case there is 
one; if not, they occupy the place that would otherwise have sur¬ 
rounded the pole; being within all the others. 


RALSTON MAY DANCE—FIRST STELP. 


























































































































































































































































































RALSTON MAY DANCE—SECOND STEP 


























































































































































































474 


RALSTON CULTURE 


The middle ring is between the foregoing and the outer 
ring; and should consist of seven persons representing the Septemes 
of Ealstonism. They are to carry blue colored ribbons. 

The outer ring is much the largest and should consist of 
all others who wish to take part in the dance. They represent the 
golden principles of Ealstonism, which are many; and should carry 
yellow ribbons, thus completing the three primary or elementary 
colors of life and light. 

The center or inmost ring moves to the left and the outer 
ring at the same time moves to the left; while the middle ring moves 
to the right; all making two circuits, then reversing. > If no pole is 
used the ribbons, which should be two yards long, are held in the 
two hands over the head, each dancer taking hold of a ribbon about 
two' feet from one end with one hand, and about two feet from 
the other end with the other hand, allowing the two hands to be 
nearly two feet apart over the head. As they dance they should 
sway the hands from side to side to keep the colors waving. The 
sight is very beautiful. If there is a pole, a hoop should be fixed 
on projecting rods, about six or seven feet from the ground. The 
hoop will permit the dancers to keep all at the same distance from 
the pole, because of the ribbons’ length; and the rods will prevent 
the hoop from falling. If the diameter of the pole is slight, the 
ends of the ribbons can be tacked to it, and thus save the use of the 
hoop; as the winding about twice would not shorten the ribbons ap¬ 
preciably. The blue colors should be attached about ten feet from 
the ground; and the yellow colors about fourteen feet from the 
ground. 

The dance steps are very easy to execute, but very 
difficult to explain in writing. The first step of the Ealston May 
Dance is the daintier of the two; while the second step is more of a 
frolic, being exactly the same as that employed in Figure 97 of the 
system of Physical Culture in the first half of this book. See the 
account given there, and the description on a later page. The sec¬ 
ond piece of music, herein reproduced, applies to the second dance- 
step. 

The first step is in a series of beautiful changes. The first 
of the series is as follows: Hop on the left foot and swing the right 
forward in front of it and to the left; then hop on the right foot 
and swing the left forward in front and to the right. Continue this 
until a change is desirable. The next step in the series of the first 


THE BEAUTIFUL MINUET 


475 


dance is a long jump forward on left foot followed by the other’s 
being poised in front, while the left foot gives a very small hop; and 
the same repeated by the right, giving a long jump and a small hop; 
all being blended so finely that it seems like a smooth and dainty 
action. Another variation is a swinging action of left foot to the 
front, followed by a swinging action of the right foot to the rear, 
then an advance of the right foot to the front, and so on. Indeed 
the variations are many which are possible with the accompanying 
mnsic. Practice indoors should be had for some weeks prior to the 
May exercises; and the best place and occasion will be found in 
connection with the regular school of Ralston Culture which we so 
strongly recommend that you establish in your Reality. There the 
pleasures of the practice will afford additional stimulus to the health 
and strength of the body. It will result in a grand good time for 
everybody. 

It has been suggested that the May dance, as well as the 
usual Ralston Festivities, would harmonize with other seasons of the 
year, especially when the weather is favorable to outdoor sport, as 
in the middle or latter part of May; the same in June, or in July; 
as well as in August and the autumn months. We hope to see the 
time when Ralston exercises out of doors will fill up the measure of 
many a day and many a beautiful evening. We hope that, ere long, 
the happy ideas of Ralston City as presented in “Ralston Gardens,” 
may be realized in all their fullness and potency for the uplifting 
of humanity, for bringing cheer to the lonely, strength to the weak, 
vigor to the weary, and supreme happiness to all. 

CLOSING REMARKS. 

There are some things that belong to the commonplaces 
of life; that cannot be well classed in the divisions already given in 
this book; and that may be mentioned here as we bring the work 
to a close. The first suggestion is of paramount importance; if you 
wish grace, ease and power, as well as polish, perfect self-contain¬ 
ment and control; study magnetism. Study it long and faithfully. 
It vitalizes the whole body, the mind, the nerves, the muscles, and 
health itself. The cost is of too small a consideration to be given a 
thought, if the money can be spared; hundreds of dollars of expense 
cannot be much where thousands and scores of thousands of dollars 
of gain are received; although there need not be a dollar of real ex¬ 
pense under the plan of the Ralston emoluments. 


476 


RALSTON CULTURE 


If you wish to be successful as a teacher, you must be 
magnetic. It is true that you are thus endowed in some degree; 
but your station in life will tell you how far you have really 
equipped yourself for its battle. Magnetism is the sure maker of 
success if you use it aright. Thus if you possess it, and yet are not 
in the front rank of the winners, it is because you are like the un¬ 
trained engineer—ignorant of the power of his new engine. If you 
are utterly and absolutely devoid of all magnetism, you are a rare 
exception to the conditions of human existence. What you have 
should be developed; what you may possess now or acquire later on 
by practice and training should be brought under those rules that 
turn the power int^ means of substantial success in life. 

If you are seeking a successful class or school in Ralston 
Culture, do you imagine that, without magnetism, you could secure 
such results; or, with magnetism, that you could long retain the 
interest of your pupils or even impart to them a fair value for what 
they pay you? To know how an exercise is to be performed, and to 
know all the descriptive matter pertaining to the same is not 
enough; the best soon wearies, even when the best is so fascinating 
and entrancing as that which is contained in Ralston Physical Cul¬ 
ture. It is true that the music and the movements possess a double 
charm that will almost carry them without even the presence of a 
teacher; but let the instructor be skilled and magnetic, and the 
effect is instantly changed. Bright music and beautiful exercises 
will not have the opportunity of drawing patronage; as they come 
when the latter is secured. Other powers and influences must 
operate to bring a clientele; and magnetism is the mainspring of 
them all. For this reason we urge that you make it the chief object 
of your life to win success through such aid. 

Then there are daily evidences of the direction in which 
you are drifting, which should be constantly sudied by you if you 
would keep on the highway of a steady improvement. Conduct is 
everything, both in your own private life and in the eyes of the pub¬ 
lic. The same careful management of the body that you should 
insist upon in your life, ought to be insisted upon in the lives of 
your pupils as far as you can control them. You should watch 
them, and learn wherein they need advice. Some are always tired; 
they are never in good positions; they stand awkwardly or slovenly; 
they walk up stairs out of balance^ as seen in Figures 379 and 381, 
and to climb a single flight of stairs tires them much more than the 


THE BEAUTIFUL MINUET 





















































































































478 


RALSTON CULTURE 


ascent of five flights would weary them if they were to adopt the bal¬ 
ance and perfect poise seen in Figures 380 and 382. Yet these are 
merely incidents which show the direction of the drift in any life. 
Properly climbing stairs is recommended by physicians as the best of 
all exercises, especially for the heart and other organs, if not done 
too rapidly. 

Then mind and heart must be trained for their best uses. 
Culture of the body is largely muscular; magnetism deals with the 
nervous functions to a large degree; but the intelligence and force 
of the mind require development in order to guide the powerful ma¬ 
chinery of the body. Talent without judgment, toil without direc¬ 
tion, genius without depth of design—these are discords on the bet¬ 
ter side of life; but discords nevertheless; and they wreck the engine 
that might otherwise have brought them safely into the highest 
realms of success. So the heart, the moral side of existence, must 
receive due attention. An unbalanced individual is incomplete; ho 
cannot count on ultimate gain. Thus all sides of life should be 
studied, cultivated and developed to their highest usefulness. Fail¬ 
ure will have its first cause in a lack of balance. Remember this: 
and do not forget that he or she who chooses to close the mind 
against the adoption of these suggestions, is \ery sure to cry out 
loudly that fate and fortune are always frowning on them. 

Little lectures follow on the succeeding pages; and they 
are larger talks than the hundred or more little lectures that 
appear under the figures on previous pages. It is the latter that 
really were referred to in Ralston Gardens; but we have trans¬ 
ferred the name to those full page lectures that follow at this 
place; so that there are two kinds and sizes of little lectures in 
the present volume; being more than were at first intended. This 
will be of greater advantage to our readers and pupils, especially 
those who are’ to study and to teach. 

You can do no better and greater service than to see that 
every school teacher, man and woman, in your school district, 
becomes a member of the Ralston Club, and also acquires the full 
knowledge of the arts of Ralston Culture. Then they will take 
their own pupils in the schools through the short courses; and 
the benefit received by the scholars will awaken a general in¬ 
terest in the full courses; which are too 1 extended for work in a 
public school. Remember that the more the interest grows, the 
more chance you will have of succeeding. 


Little Lectures.- 


T O be delivered by the teachers or others who have 
classes and wish to aid them as much as possible in the mas¬ 
tery of this important training. The mind of the pnpil 
must think; and the more it is made to think on the very 
subject that is under way at the time; as, for instance, the exercising 
of the body, the greater will be the interest taken in the work. 
Mere talk is not a lecture. Mere advice is not enough. The sug¬ 
gestions made should be timely and applicable to the occasion or to 
the principles involved in the training. 

The Little Lectures that follow are sufficient in them¬ 
selves; yet they may be used as types of other lectures if you wish to 
extend the number. They provide for twenty-five sessions, one 
lecture at a session; this will comprise a term of eight weeks, or 
two full months, allowing three sessions a week. If you are travel¬ 
ing from place to place, merely instructing classes, who propose to 
learn from you how these movements are performed, especially if 
you have graduated from Ralston University of Washington, D. C., 
and understand the many beautiful variations, all you need do is to 
show what each exercise requires and see that the classes fully com¬ 
prehend them. In such case you could hold daily sessions for four 
weeks; and, after you are gone, they could develop the movements 
at their leisure; say by holding sessions three times a week or less. 
If your stay is thus limited you could deliver the lectures, one at 
each session, and omit one lecture or give two on the same day at the 
close. 

It is better to memorize them and to repeat part at a 
time, during the brief periods of rest between the exercises; but the 
pupils should not be allowed to- sit for more than a minute at a time, 
as they will get chilled, and thus offset the good work already done. 
This is important to remember. A skilful teacher will not be 
guided by personal feelings of weariness or comfort, but must stud) 
the faces of the class and determine whether they show the need of 
action, relaxation, or rest. In every hour there should be twenty 
brief sitting periods of ten seconds to a half minute or minute each. 
Here will occur the little opportunities for delivering the lectures, 
apparently in an informal manner. 

( 479 ) 



480 


RALSTON CULTURE 


“WHEN TO EXERCISE.” 

This question is daily raised a hundred times, as it seems, in one 
way or another, by Ralstonites who communicate with the author. 
The inquiries are both interesting and instructive, chiefly for the 
reason that they show the varying motives of the individuals who 
seek information. For instance, one wishes to know when to exer¬ 
cise with relation to the periods of eating; how long before, or after 
a meal; and whether the stomach should be empty or full. Another 
desires information on the question of what time of day is best 
suited to exercising; is it morning, noon, or night; or are there cer¬ 
tain hours that are to be preferred? Another wishes to know if 
there are times with reference to periods of illness; is it advisable to 
practice soon after recovery, or when feeling ill ? Illness is of many 
kinds, is due to many causes, and shows itself under varying condi¬ 
tions. A chill and its opposite are the extremes perhaps. In some 
instances, exercise if properly performed will eradicate the disease 
that is seeking to gain a foothold; but all these matters are discussed 
very thoroughly in the work entitled “Ralston Doctors.” We 
are called upon at this place to consider the question of time as re¬ 
lated to the hours of the day or in reference to the periods of eating. 
Two good rules are worth bearing in mind in this connection: First, 
the time to clear the system of waste matter is when there is no 
food in the stomach, and the morning hour is best, especially if the 
breakfast is delayed a while; second, the time to build up a new 
body, little by little, part by part, is when there is some food in the 
stomach, or soon after the blood has taken it up. If the meal has 
been moderate, and composed of the most wholesome foods, it is best 
to go into the exercises about a half hour after eating, or even 
sooner; with the lightest movements first, followed gradually by the 
heavier ones. When the stomach is overloaded, rest is the best 
thing for it, although a few gentle but large movements in physical 
culture have relieved the distress and set the digestive process go¬ 
ing, when it seemed blocked by the pressure. Exercising on an 
empty stomach is generally bad, if there has been more than four 
hours lapse since food was taken. It serves no purpose except to 
break down tissue, eliminate waste material and clean out the sys¬ 
tem; but what is the good of doing this if new matter is not forth¬ 
coming to take its place? Activity excites the part involved, at¬ 
tracts nutrition to it, and expects to find the blood and flesh ready 
to give up its valuable merchandise; but when the stomach has been 
empty many hours, the effort to build will prove a dismal failure. 



LITTLE LECTURES 


481 


“HOW TO EXERCISE.” 

The mood of the hour has something to do with the man¬ 
ner in which exercises may be performed; but the good judgment of 
a thinking person may make the mood. A lazy, languid, careless 
mind needs muscular vigor to set the blood traveling into the brain, 
where the deficient life stagnates the whole nervous system, warps 
the judgment and inverts the daily habits of existence. The need 
of resolution is at once seen. In the case of indolent children, the 
parents or teachers are supposed to furnish the decisive determina¬ 
tion that sets the machinery going; but adults are their own masters 
and will not allow others to dictate to them. Argument will appeal 
to some; the hope of health to others; the advice of a physician 
given in no uncertain tones, has its due weight in still other cases; 
but the inward discovery of the crying need of action in and among 
all the faculties of the body, makes the best type of subjects for the 
blessings of a true system of physical culture. Assuming that the 
start has been made, there comes the danger of the loss of interest 
through a clumsy and faulty beginning; for if the child is made 
lame, the parent will frown upon the whole thing, and if the adult 
is made lame, the soreness that follows will be charged to the wrong 
cause. This we deal with quite explicitly in another article in the 
present series. When the laming period is passed, the next cause 
of discouragement is in the weariness that attends a careless method 
of performing the movements. This is as much due to the fault of 
the teacher as of the pupil. The latter may turn any beautiful ac¬ 
tion into a wearisome strain, by racking and jerking the body about. 
Where there is no music, the bones and muscles do not work 
smoothly of themselves, unless the pupil is quick to see the value of 
steady, sweeping, gliding motions. Even the most intense exercis¬ 
ing need not produce the jerk or jar that is so often seen. A blow 
is rarely called for in physical culture, but it serves its purpose as a 
means of developing health; yet it need not strain the muscles as 
is too frequently the case. The human body is a machine, having- 
attributes and qualities of the highest value. Like a perfected 
piece of machinery, it should not work with jerks, thumps, straining 
or tearing action. The greater the power the more evenness and 
smoothness should be given to every movement. No muscle should 
feel a strain. No quick action should tear at the part of the body 
from which it is impelled. A forward movement of the arm, if 
violent and jerky, will produce lameness at the shoulder-blades and 


482 


RALSTON CULTURE 


along the spinal column clear down to the small of the back. The 
same kind of a jar that will weaken the value of a machine, will de¬ 
feat all the good that exercise, play, or even work might accomplish. 


CARE OF THE BODY BEFORE EXERCISE. 

There are some conditions under which exercise should not be 
taken, and we will mention them in connection with the topic under 
consideration. The body requires some care both positive and neg¬ 
ative. On the latter side it is well to remember that physical fatigue 
should not precede physical culture. The mind and nervous sys¬ 
tem may be exhausted, as the phrase goes, and muscular exercise, if 
well varied, will produce relief. The same is true if a person is 
fretted or wearied by toil of any kind; one line of balanced physical 
effort will remove the tired condition caused by another. But when 
fatigue ensues, a rest is needed. The most satisfactory results are 
obtained by five or ten minutes of quiet, lying down, prior to taking 
the regular exercises. The body should be as clean as circumstances 
permit. Some are not able to take a bath within the hour preceding 
the exercise; but may do so in the morning. The skin should be as 
free from dirt, or accumulated perspiration, as possible; for the 
channels of exudation should be open and free. Out of them will 
pass the poisonous matter that causes ill health; and its successful 
deliverance is of prime importance. Many persons go into physical 
training, intending to bathe afterwards, which is a good idea, if it is 
a secondary bath; but they perform the exercises with the skin 
clogged by flesh soil; and the pores that are forced open are met by 
the foul matter deposited on sticky underclothing; and so no good 
is accomplished by the exercising. If but one bath can be taken it 
should precede rather than follow the hour of training; and a brisk 
dry rubbing down may come after. Not only is it important to 
have the skin clean and pores open, but the blood should not be 
vitiated by a long period of abstinence from food. Exercising on 
an empty stomach results in destroying much of the reserve nutri¬ 
tion of the body without renewing the supply, because fresh and 
wholesome food is not at hand to make blood. Elimination follows 
physical effort of the right kind, but when the stomach has been 
long empty, the loss goes too far and invades the vital stores, be¬ 
sides drawing the poisons from the ordinary channels of passage into 
the better flesh. On the other hand, it is unwise to exercise heavily 



LITTLE LECTURES 


483 


when the stomach is overloaded and digestion requires all one’s 
vitality. Extremes should he avoided in all things; in eating as 
well as in exercise. 


CARE OF THE BODY AFTER EXERCISE. 

With all the knowledge accredited to the human species, there 
is a doleful lack of sense in matters of hygiene; and nowhere is it 
more apparent than in the care of the body when overtaxed or 
overheated. To he exhausted from great physical exertion, is to be 
in a low vital state. One cannot read, write, talk or even think, 
although mental weariness', or nervous depletion may often find re¬ 
lief in muscular exercise. When the physical body is all tired out, 
everything else follows; and this is because the tremendous con¬ 
sumption of energy has reached the vital centers and robbed them 
of their wealth. The thing to do is to keep the pores open by a 
vigorous dry rubbing, using alcohol on any parts that are lame or 
tender. This should be followed by extra heavy clothing, so as to 
maintain for an hour at least, the temperature at which the practice 
stopped. This is uncomfortable only to those who are in need of a 
bath, or who wear coarse irritating undergarments next the skin. 
The millions of processions of effete matter are passing out at the 
pores while the heat is maintained; and to check it in less than an 
hour, especially to sit in a draft or any place where the cool atmos¬ 
phere will drive away the heat, is sure to do injury to the blood and 
skin, as it imprisons the poisons at a place where they will set up 
dangerous conditions. It is much better to leave them in the in¬ 
terior channels, than to call them into the skin only to be shut up 
there. The third essential in the care of the body after exercise, is 
to secure a proper amount of rest. When the system is quite tired, 
all functions should be kept in a quiescent condition. But a 
stronger reason exists for taking a rest after any effort of the physi¬ 
cal body. Assuming that the blood is well supplied with new food 
from the stomach, and of a nature that is wholesome, we see the 
process of tearing down the old tissue by scientific exercise, accom¬ 
panied by an invitation from the general structure for a new supply 
of material, which must be interwoven in the fabric of life. The 
loss of the valueless parts and the demand for better substitutes by 
the stimulation of exercise, must result in the energetic activity of 
the blood which hurries on in its course, bearing the freight of rich 



484 


RALSTON CULTURE 


nutrition to be deposited and absorbed where most needed; and this 
rebuilding is wonderfully helped by rest and even repose. There¬ 
fore an hour’s relaxation is one of the most beneficial measures to 
adopt after a period of physical culture. 


RELATION OF FOOD TO EXERCISE. 

One of the most important laws of health is involved in the 
subject now before us. In the start, it is necessary to admit that 
the influence of the old school is still alive; and the doctrine of hard 
exercise on an empty stomach, a remnant; of the depletion theory of 
bleeding the body, is yet believed in by many; and occasionally a 
doctor of intelligence advocates it. The facts, as sustained by ex¬ 
periment, do not warrant any such principle. The argument, or 
process of reasoning, by which doctors were able in times past to 
convince themselves of the necessity of removing a large quantity 
of valuable blood in order to cure any and every malady, seems to be 
alive in the methods advised by modern hygienists; but it is argu¬ 
ment merely, based on wrong assumptions to begin with. A fact, 
when established, is a safer guide than an explanation of a blind 
theory. So with the question of the relation of food to exercise. 
Theorizing individuals tell us to exercise first and supply the nutri¬ 
tion afterwards; and they cling close and hard to this doctrine, as 
though the reputation of a lifetime depended on its acceptance. 
Fact tells us that the body is an engine; whose best supply of fuel 
should be on hand at the time the engine is running, and not to be 
called back out of an already deficient blood. It is generally true 
that hard exercise not only makes inroads upon the flesh structure 
and physical strength of the body, but it also depletes the magnet¬ 
ism or vitality of the brain and nervous system to* such an extent as 
to deprive the digestive organs of their power of assimilating food. 
It is one thing to have nutrition go into the stomach and out again; 
but it is quite another to have the blood take up the food values for 
the purposes of circulation; and still another thing to have the flesh- 
tissue attract such value from the blood after it is in circulation. 
To maintain these three conditions implies perfect health; yet not 
one of them can exist when the stomach is empty after a long period 
of abstinence, as from evening till morning, or from morning till 
evening. The most valuable of the wholesome foods should be 



LITTLE LECTURES 


485 


made the foundation of scientific physical culture. To exercise 
when a shabby meal has been taken, as of white bread, cake, pastry, 
fried potatoes, or similar trash, is sure to prove useless. While it is 
wrong to practice heavily with the stomach overloaded, it is true 
that the nearer to the meal the faculties are employed, if the meal is 
composed entirely of wholesome food, the stronger the faculties will 
become; and this law holds true of every department of the body, 
mental as well as physical. 


DANGER OF OMITTING MEALS. 

When it is known that the life in the body consists of a con¬ 
tinual change, the cessation of which means death or such loss of 
vitality that the organs are weakened, it will be understood why two 
great processes are always needed to keep up the manifold details of 
the change. The first of these processes is the supply of nutrition; 
the second is the removal of the waste. Attending the former, 
there must be a demand that arises from use of the material already 
on hand; attending the latter there must be a burning up of the 
matter which constitutes the waste, before it is in a condition to be 
removed. By that endless circle which nature has endowed with the 
duty of making life possible, the action of burning is the action also 
of exciting a demand for the supply. Omit this, and everything is 
clogged. The power that destroys is the same that builds; and both 
must be fed; for they are two activities in one. Rest, in the sense 
of relief from over-weariness, is one of the most necessary things, 
yet- it is not the rest of decay, but of opportunity for rebuilding. A 
body that is well supplied ’with nutrition will go on with its work 
during the refreshing hours of sleep; for we suppose that the dac¬ 
has been one of action and supply; but, if it has been one of idleness 
and poor selection of foods, sleep is neither refreshing nor helpful. 
Disease comes soonest from rest that is not a period of building and 
repair. To suppose that something can be built out of nothing; 
or that a repair can be made with no material, is the height of error. 
When we learn that the body is just like a machine, with the differ¬ 
ence that the engineer lives in it as a part of its construction, we will 
quickly learn how to take care of it better. It is just as easy to build 
a part of a machine out of nothing but air and unconsciousness as to 
0 do as much for the body by mere sleep and emptiness. The old 
saying, give the stomach a rest, means two things: In the first place. 



486 


RALSTON CULTURE 


it means that if the system is over-full of nutrition, no more should 
be taken till the surfeit has been properly disposed of; and, in the 
second place, it means that if the system has become clogged by the 
use of injurious food, as rich cake, pastry, and the like, the stomach 
must have rest in order not to throw more debris upon the ruin al¬ 
ready established in the digestive department. In both of such 
cases rest is the first essential; for the engineer has been absent from 
the post of duty. His good sense; if he ever had any, has failed to 
act. Out of such gross indiscretions, many deaths have come to 
those who boast of their unvarying good health. In ordinary cases 
it is injurious to the health to omit any needed meal. This omis¬ 
sion comes when the stomach has been made too tired to receive 
food; or a late dinner or evening meal, taken after action instead of 
before, is an incubus that destroys all feeling of need for the next 
morning; and from these two omissions comes the long train of 
stomach maladies. Yet, nevertheless, the system requires nutrition 
which it is not getting. It is just as logical to crowd a boiler with 
too much fuel at one time, and give it none at another, as to adopt 
the same folly with the human body. Regularity, in the sense that 
a steady supply should be furnished for all needs, is the best mode 
of preventing disorders of the stomach. When a single meal is 
omitted, you run the risk of neuralgia, headache and blood weaken¬ 
ing, which leads to rheumatism and other troubles. 


“WORK AND INDIGESTION.” 

A good bit of old-fashioned advice tells us that the man or 
woman who toils can digest most anything. It is true that work 
makes the demand on the blood and its nutrition much greater than 
idleness is capable of doing; and this demand from the muscular 
system for more of the food that is contained in the blood causes 
the latter to call for an increased supply at the stomach, by which 
means it produces what seems to be a better appetite. Digestion, 
however, needs not only a.demand for the nutrition contained in the 
food which is to be digested, but it requires also the vitality which 
a buoyant nervous condition alone can give, and the open activity 
of life which is drawn from plenty of oxygen in fresh air and the 
brightness of a sun-lit day. The man or woman who works hard, 
accomplishes the first; the old matter is destroyed and a demand is 



LITTLE LECTURES 


487 


created for more food. As against this advantage, comes the serious 
objection that the toiler does not free the system of effete matter so 
freely by bathing, cleanliness and frequent changes of under¬ 
clothing, as the sedentary person; and the dead matter is thrown 
back upon the blood, the liver stagnates, and organic troubles en¬ 
sue, leading to biliousness, chills and fever in malarial localities, 
and a clogged stomach. Then, again, the worker comes to the table 
too often exhausted, and the nervous powers of digestion are de¬ 
pressed. Some of the worst cases of dyspepsia are found among 
those whose physical activity, carried right up to the moment of eat¬ 
ing, has absorbed so much of the vital-fluid of the nervous system 
that the stomach has insufficient power to accept and assimilate 
food. True hunger must be based on a buoyant demand of the 
nerves that carry on the process of digestion; and their buoyancy 
does not exist if a general weariness prevails. Work causes indiges¬ 
tion when it tires too much; and even exercise, study, mental strain, 
worry, or other matter that may weaken the spirits, will do injury 
to the stomach. A rest should intervene. Never go to the table 
weary, and think to gain anything by eating. The caprices of appe¬ 
tite, the high seasoning, the abandonment of plain food for the 
limited scope of relish, are sure to undermine every organ in the 
body; and that which is weakest will fail first. It may be the lungs, 
the heart, the liver, the kidneys, the general constitution, the blood, 
or the central source of it all, the stomach; but the cause and cure 
are located in the last-named place. Many kinds of work deform 
the stomach, for the reason that the toiler will not take advantage 
of what little diversion is possible. To sit, or to stoop continually, 
produces this deformity and consequent indigestion. Reading, 
writing, sewing, and many occupations may be varied at times, even 
if there is no change of work. Some of it may be done in brief 
periods of standing; and all may be so performed as to prevent the 
concaving of the stomach. 


RELATION OF SLEEP TO EXERCISE. 

Muscular activity differs in its own uses far more than is 
ordinarily known. Toil may employ all the muscles, but it always 
does so in some channel of action suited to the nature of the occu¬ 
pation; and thus certain sets of muscles are steadily used in certain 
ways. While it is rare that all the sets of the body are involved in 



488 


RALSTON CULTURE 


the activity of labor, except in the most general sense, it is not true 
that any one set is given its full employment; for it has many uses 
and there is no way known of calling them into action, except by a 
scientific method of physical culture. Toil fixes a few very limited 
channels of use, and the laborer, the housewife or the artisan, be¬ 
comes a drudge, a sort of working-animal. This rut of living, no 
matter how varied it may seem, assumes habits of its own which 
sooner or later regulate themselves. In the case of scientific 
physical training, the first purposes is to employ every muscle in all 
possible ways, and every set of muscles in all their combinations of 
use; and to avoid the exhausting tax on the strength, while gently 
exciting every vital center throughout the whole body. Following 
the splendid work of this Ralston method of training, there are no 
evidences of weariness; for nothing hut exhilaration is perceptible; 
yet it is true that this exhilaration requires support somewhere, and 
the best known method of renewing a generally taxed vitality is by a 
little extra sleep. This is recommended to all persons who use the 
present system of training. While eight hours is a good long period 
for one who is over fourteen or under fifty-five years of age, it is 
better to add an hour during the terms of regular Ralston practice. 
Thus if you take the exercises in their variety on Monday, you 
should sleep nine hours on Monday night; and, if you omit the 
practice on Tuesday, it will be sufficient to take eight hours of sleep 
on Tuesday night. Some persons take the exercise every alternate 
day or three times a week. Everyone knows that a few minutes of 
sleep in the middle of the day, or between eleven o’clock at noon 
and four o’clock in the afternoon, is better than an hour at night; 
hut it is not good policy to sleep before exercising. After the prac¬ 
tice is over, and the body has been given a good rubbing down, as 
they call it, and the clothing is heavy enough to hold the heat in 
until all perspiration ceases, a few minutes of. sleep will prove a 
string of richest pearls in its effect upon the health and especially 
upon the complexion. If you cannot sleep, you can doze or rest 
idly, which is almost as good. The chances are, however, after a 
few days trying, that you will readily fall into a sweet slumber. 


“ CAUSE OF LAMENESS.” 

While it is not possible to exercise muscles that have become 
weak from lack of use, without causing some lameness, it is not a 



LITTLE LECTURES 


489 


sign of a skilful teacher if the pupils are left lame, sore and sick 
after the first lesson or two. This subject is, perhaps, the most 
important one in the whole scope of teaching physical culture. A 
careless instructor is content to rest on the general and well-known 
fact that all exercise that is beneficial is sure to tax the muscles to 
an extent sufficient to make them lame; hut even this does not jus¬ 
tify any unnecessary soreness. We know that all athletes dread the 
first day’s practice after a winter of rest. This is especially so with 
base hall players who do not keep up their exercising all winter; they 
think it all right to jump into the heaviest part of the playing on 
the very first day of the spring practice, and as a consequence they 
get very lame and sore. So we see that the amount of previous ex¬ 
ercise does not count when there has been a rest of the muscles. 
Sedentary persons have rested all their lives, since childhood, and 
have much weaker tendons and tissues to he affected; and these little 
fibrous cords are easily torn by violent action. One man so hurt his 
shoulder muscles by trying to strike a servant in a fit of anger that 
he was actually sick from the tear and ripping of the small tissues 
all along the back, where the strain was most severe. While the 
cellular structure of the body must die and be rebuilt every minute, 
in order to sustain the power of activity, it is not wise to tear away 
the framework of this structure, as is surely done by violent exercise 
or work. Some of it can never be made again. Of course, the- 
effect is very slight when compared with the whole bulk of the 
body; but it does not require large nerves to cause great pain, nor 
large tissue to feel the loss of a constituent part of the general anat¬ 
omy. The first exercises should be taken so easily as to present a 
gradation between the ordinary efforts of life and the new tax that is 
soon to be placed on the muscles. By ordinary efforts is meant 
what the individual does every day; such as standing, sitting, walk¬ 
ing, possibly stooping to pick up something that has been dropped, 
and very likely lifting things, although not of much weight. The 
most sedentary of individuals will do something each day, if no more 
than to lift the feet to another chair, or to raise the hand to the 
mouth. If there is absolute rest there is death; and no doctor and 
no medicine can do aught for the unburied corpse. It eats, sleeps, 
breathes, and talks; but it does not live because of these things. 
Chesterfield, deprived of the political power he had enjoyed, said he 
t ,was dead for twenty years before he stopped breathing. We must 
assume that all persons, except the ultra lazy or ultra tired, which is 


490 


RALSTON CULTURE 


the same thing, are given to some degree of activity; and it is from 
this beginning that the teacher must proceed by easy gradations to 
arouse the action of the muscles; and there is a process so steady, 
yet so free from violent effort, that not the least harm will be done, 
beyond the common pain that attends any unusual exercise, as a 
long walk or a shopping tour with its vicissitudes. 


“ RAPIDITY OF ACTION.” 

A slow movement is tiring in proportion to its slowness. There 
is less output of energy; and, for this reason, the argument seems 
sound that it is therefore less wearing. But another law comes into 
play; by which we learn that the life that supports any exertion of 
the body must inspire the vitality which takes its place for a future 
repetition of the action. A slow motion is incapable of inspiring 
such vitality; unless its slowness is attended by great magnetic 
tensing. In such case a still attitude is enough. Slow walking is 
very wearisome. A valuable experiment shows that a person can 
walk five miles quickly, with slight intervening periods of rest, pro¬ 
ducing less fatigue than a mile will cause if the pace is deliberate. 
The explanation is found in the fact that slow walking cannot 
arouse the vital centers of the body; while every quick step will 
create more energy than it consumes. From the list of exercises 
that involve speed must he excluded those that tax the limit of sup¬ 
port of the weight; such as dancing and running. These do not 
produce the renewed vitality; for it requires too much vitality to 
lift the body each time in the running step, and the very organs of 
life are shaken and strained by the act of running. Nor would a 
quick ascent of a flight of stairs renew the energy that is lost; for 
the very reason that the whole weight has to be lifted in each 
movement. A rapid walk will do wonders for the system, especially 
if it is out of order or is sluggish from lack of action. Laziness has 
been completely eradicated by the cultivation of the habits of speed 
as means of exercise. Nothing will drive that tired feeling away so 
soon and so effectually as speed of motion. If a person is not 
strong, or is subject to heart disease, it is not advisable to teach 
even the walk at first; for there are movements that do not require 
so much tax on the vitality as the walking. Any of the rapid ex¬ 
ercise will do; and the simplest should be tried first; such, for in- 


LITTLE LECTURES 


491 


stance, as the first or rotary motion of the hands. The rapid arm 
movements are especially valuable in their inspiring effect on the 
centers from which come the power and energy of life. The most 
tiring of these speedy exercises are those that require the whole 
weight to he moved rapidly and they should be avoided till the 
vitality is assured. We have known persons who are accounted in¬ 
valids to walk a dozen steps with great speed just before a meal in 
the morning, and drive a severe headache away in a minute. 
Sometimes it is not easy to warm the blood, and a quick motion re¬ 
peated will soon arouse it, while a slow activity, no matter how long 
continued, would be of no use. We have heard a father tell his 
daughter to exercise and she would soon be warm; but her method 
was the slow and spiritless style of moving the muscles, which ac¬ 
complished nothing. The law of rapidity as a means of inviting 
new vigor to the blood through new life to the nervous centers, is 
now a well established one, and it will pay a large interest to ob¬ 
serve it. No day should pass without some few minutes being de¬ 
voted to rapid movements, if you wish better vitality and better 
health through better blood. 


WORK IS NOT PHYSICAL CULTURE. 

Many persons are heard to say: “Oh, we do not need physical 
culture; we get exercise enough in our work.” While it is true that 
sickly and sedentary persons need physical training more than those 
who are active in daily life, it is wrong to suppose that work takes 
the place of such training. - Let us examine a few of the important 
differences between the one and the other. The artisan works. 
Even in all the variety of the least monotonous occupation, he runs 
in a fixed channel the very sameness of which develops automatic 
habits from which relief is a necessity. Most toilers are not thus 
favored. The continuous repetition of one kind of muscular em¬ 
ployment deprives the organs of their life-drawing vitality; for they 
quickly accommodate themselves to habits and do not depart from 
such tendencies until aroused. Muscles are pliant ropes when 
worked in all the directions which nature has made possible; but 
when given limited though varied uses, they lose all elasticity for 
other action. Thus the farmer who has to bend the knee without 
much opportunity for balancing that action with other movements 



492 


RALSTON CULTURE 


of a diverse nature, is seen to be crook-kneed; bis legs are angular; 
and it would be a matter of some difficulty to give him a graceful 
carriage or even a fairly graceful walk. In his occupation he 
stoops; so his back is bent and the curve is a fixed one. His hands 
grasp implements, which require the crooking of the fingers and 
their joints. These are carried to the grave in their bent condi¬ 
tion. Work is of all kinds; yet it is never so varied that it furnishes 
a counter-balance for the over-tax it imposes on certain sets of 
muscles; and, when all sets are used, they are given no opportunity 
whatever for the reaction which training alone can supply. Play is 
considered better than work as a means of health; and this is true 
when it is not attended by the evil influences that so- often creep 
into its methods; as, for instance, the excess of enthusiasm that 
takes away too much vitality, the exposure to a low temperature 
when the heat of the body is uncomfortable, the disappointments 
that follow defeat, and the tendency to overdevelop certain muscles 
while the others are left to yield up their own strength in behalf of 
the former. It requires the best of judgment to turn play into 
physical culture; and, even then, an all-round balance will be found 
wanting. Yet as between work and play, it is clearly proved by ex¬ 
perience that the latter is to be preferred as a means of inviting 
health. A true system of physical culture will include the play 
impulse, avoid its disadvantages, and furnish a complete balance to 
each of its many movements. All physical work wearies through 
its inadequate rewards; all play is profitless; and there is no satisfy¬ 
ing use of the faculties of the body except such as may be found in 
a true system of physical training. 


“BICYCLING IS NOT PHYSICAL CULTURE.” 

It would be foolish to assert that this form of exercise is worth¬ 
less. To a person who is free from disease of the heart, the liver, 
the kidneys or spinal affection, there is benefit in a moderate use 
of the bicycle. It is beneficial when it brings a sedentary or lazy 
person out into the open air, and starts a circulation of the blood 
that would otherwise be stagnant. Even then, to be an advantage, 
it must not be used too long at one time, nor too much in the aggre¬ 
gate; for no person is so miserable after the age of the bicycle has 
passed than one who has suffered the body and its organs to grow 



LITTLE LECTURES 


493 


into the deformity that is sure to come from the excessive use of the 
wheel. The injury to succeeding generations will he far more pro¬ 
nounced than is now supposed. In spite of the unbalanced minds 
that are led away by their ultra enthusiasm for this kind of amuse¬ 
ment, it must he said that there are more arguments in favor of 
using the bicycle than against it. The wise will make that use rea¬ 
sonable; the unwise will in time he unable to use it at all. Yet the 
wheel is not capable of giving the benefits of health and adjustment 
of the vital parts that are sadly out of harmony in an invalid. It 
can do something; hut not all, and in fact very little. One line of 
work or of play is sure to result in one kind of muscular habit. It 
is not true, as is sometimes claimed by those who are interested 
in the sale of bicycles, that it will develop the whole body. In 
the first place, it does do the very thing that is most required, 
namely, place the human body in the alignment of an erect and 
godlike position, where the center of gravity is carried in the only 
poise that denotes the gentleman and the lady. No true exercise . 
can long depart from this most essential requirement. The bent 
body and the curved spine are in harmony with a rolling gate, and 
not in any way- a part of the noble walk of a graceful, queenly 
woman, or a virile man. The exercise of pedalling with a continu¬ 
ous circle of the feet is less than one per cent, of the activity that 
the body needs; and, because it shakes or jars the whole system, is 
no reason why it should be claimed that it is a general form of ex¬ 
ercise. Walking does much more to tax the whole body, but is not 
by any means a complete system of training or development. One 
can scarcely do anything that does not involve the muscular struc¬ 
ture of the body, even from the act of getting up out of a chair to 
that of running up stairs; but such movements are small parts of the 
balanced attention which sets of muscles need in turn. There is 
more variety or action in almost any one of the Ralston movements, 
and more real benefit to the health, than in all the combinations 
possible in riding the bicycle. Without balancing the exertions, 
by which they are made to attract the nutrition to one portion of 
the system after the other, it is useless to hope for any real growth 
in solid health. The fact that wheeling brings one into contact 
with pure air, as it generally does, is the greatest presentation in its 
favor; and that fact has often counter-balanced severe injuries that 
are held dormant for a while, thus allowing a temporary benefit to 
overshadow a permanent danger. No one line of exercise is capable 


494 


RALSTON CULTURE 


of developing the body or of bringing health. Add the pure air 
that the bicyclist gets to the advantages of a more reasonable 
method of training, and good health is the certain reward. 


NECESSITY OF RELAXING. 

All-systems of physical training have been deficient that have 
not included the devitalizing or relaxing movements. The idea is 
comparatively recent. To attempt to take exercise while the body 
is relaxed, or any part of it is not vitalized, leads to weariness if 
persisted in for any length of time; for the reason that the life-fluids 
are withdrawn; hut to' continue in the right way without relief is 
equally disadvantageous. For instance, if the arm is to he moved 
it should be set strong and vigorous; and this is called vitalizing; 
but if it is moved for any reasonable length of time, even in all its 
variety of action, it becomes stiff. This stiffness is a step toward 
crudeness, and soon takes away the grace and flexibility of the arm. 
Pliability is lost. A further disadvantage is in the overwork of the 
tissue structure, which allows no time or opportunity for rebuild¬ 
ing that part of the body. Relief is necessary; but it is not the re¬ 
lief of rest and inactivity. It is the relief of action so performed 
as to call the life and blood out of the arm into the centers from 
which they have been sent by the will power. This is called devital¬ 
izing, or relaxing. In it is a great law of health. The difference 
between rest and devitalizing is this: The former takes the muscles 
as the exercise or labor leaves them and allows them to 1 remain more 
or less excited under the strain that will still be felt for some time 
after the action ceases; while relaxation keeps them moving as the 
blood and vital energy are withdrawn. This prevents stiffness and 
deformity in the new structure; for something is being rebuilt all 
the time. Devitalizing is the same as relaxing; and sometimes the 
word decomposing is used, but is not likely to become popular, as it 
has other meanings. The will-power determines how much of vital 
energy may be put into the exercise, and also how much may be 
withdrawn. The arm that is powerfully tensed for a blow may fall 
as though dead, if the mind so determines. The power of strength 
hardens and stiffens every muscle that may be employed; and grace, 
flexibility and repose cannot he fully restored except through the 
movements that devitalize or relax. Most athletes are exceedingly 



LITTLE LECTURES 


495 


nervous and some are the acme of awkwardness; all because they 
have never heard of the law of relaxing. They feel sure that rest 
is sufficient. Yet they know that rest, following strong muscular 
action, will not only harden and stiffen the parts hut will lead to 
soreness through the sudden change of temperature that succeeds 
the extra heat of the body. Some attempt to cease all action imme¬ 
diately, take up the plan of rest without intervening activity, and 
even cool off quickly; and these pay the penalty of such indiscre¬ 
tion. Professionals know that all these direct changes are wrong; 
yet, with their rubbing and sponging, they have not yet learned 
that to call the energy and vitality out of the muscles by actual 
movements is the surest way of balancing the work done by the ex¬ 
ercise. 


“WHAT IS MEANT BY IRON LEGS.” 

When it tires a person to stand still a reasonable length of time, 
or to walk a reasonable distance; there is fault either in the health 
or general vitality of the system. It is true that standing or walk¬ 
ing may be always strained, as when the poise is crude or deficient; 
or may be always tiresome, as when the otherwise abundant vitality 
is sapped by serious faults; but, apart from these common causes, it 
is equally true that sickly, weak, weary, or sedentary persons can¬ 
not walk very far, and are unable to stand on their feet as long as 
they can walk. They prefer to move about rather than endure the 
torture of standing five minutes. The opposite is not always true, 
that the person who can endure standing is in good health or vital¬ 
ity; but it is generally the case; that those who do not become over¬ 
wearied by long standing have an abundant vitality on which to 
build the best of health. The legs are taxed with the duty of sup¬ 
porting the body in entirety. The waist supports all above it. The 
neck supports the head. One class of persons are too tired to stand; 
another, too tired to hold the chest and upper half of the body in 
position, being too tired to sit straight; and the third class are weary 
in the neck muscles, causing a stupid, sleepy feeling to possess the 
brain, which always follows a relaxing of the muscles at the neck. 
One great fact that most persons do not understand, is that when 
the legs are strong enough to support the body, the upper depres¬ 
sions cease. The muscles of the legs are most easily strengthened; 

0 they respond to almost any demand that may be made upon them; 



496 


RALSTON CULTURE 


and it requires but a few days in most cases to pass from a state of 
low vitality to one of great power. It is a good rule to adopt, to 
compel the legs to acquire a reserve-fund of over one hundred per 
cent, of strength, so that they can never become exhausted by the 
greatest tax that can be imposed upon them. This is what is meant 
by iron legs. Let them be endowed with an excess of power, and 
the waist, chest and neck will likewise grow strong. It is only when 
we sit that the muscles of the torso show weakness; and the tendency 
to lounge and recline is rapidly increased. A well-built, vigorous 
man spends most of the day in a chair; his back needs more support, 
the feet are thrown on another chair in front or on a table, and the 
organs of life lose their vitality. He soon complains of indigestion, 
torpid liver, weak heart and bad kidneys. Nature made him to 
stand on his feet one-third of his life. He cannot stand ten min¬ 
utes at a time without suffering from weariness. The art of curing 
many of the chronic illnesses is not very far removed from the art 
of maintaining an erect attitude hours at a time. To make both 
legs strong, they should be gradually developed by the severest exer¬ 
cises so that no violence is allowed. Then the whole tax, previously 
placed upon two, should be placed upon one leg, until it is just as 
easy to stand an hour as it is to lie down; and far easier than to sit. 


“VALUE OF POISE IN EXERCISE.” 

There is an important law underlying every movement of the 
body, whether in walking, running, playing, working, or exercising. 
It is the law of poise. To the dancer it is everything. To all per¬ 
sons it draws the line sharply between pleasure and weariness in 
everything they do. The body, being a biped, is not supported as 
a chair or table may be; or as a four-footed animal stands. We 
know the uncertainties of a three-legged stool; but remove one of 
them and note the difficulty with which it is made- to do useful ser¬ 
vice. A quadruped with four legs, one at each corner, may rest by 
standing; a human being needs to sit or to recline; although there 
are some persons who do not become weary so readily on the feet 
doing nothing, as they do when working on a chair or bench. The 
only enduring position is that which avoids an effort to maintain 
the place of the center of gravity over the point of support; this 
should be accomplished easily and at all times. A dummy, such as 



LITTLE LECTURES 


497 


is seen in front of clothing stores, has a narrow base of support, yet 
broad enough to prevent falling, unless disturbed. When the cen¬ 
ter of gravity is not over this base, it is not possible to avert a fall; 
no strain of the dummy can shift the center. A human body, still 
with cold, might be made to stand on the two feet, if carefully 
placed; but, when the muscles of an active or live body are relaxed, 
as through fainting or exhaustion, it pitches forward and loses its 
line of support. We cite these instances to show how difficult it is 
for a person to maintain an erect position, even in strength; for the 
least weariness produces the tendency to fall, thereby calling for 
extra exertion to stand. A naturally graceful person not only 
maintains poise, but keeps the center of gravity over the center ox 
support. This is the highest culture. It marks the man or woman 
of grace. Herein only is seen the movements of the perfect dancer. 
Exercise requires just that same fineness of support. Try a few 
changes of position as means of illustration, if you wish to see what 
is meant. Stand in the military position with both feet together, 
forming a letter Y; then advance forward on the right foot, and 
note if the poise is perfect, if the central weight of the torso seems 
to be over the ball of the foot, and if the balance is easily main¬ 
tained. Then step forward on the other foot; then to the right, 
then to the left; then backward on each foot alternately. To fur¬ 
ther test the poise, make steps in semi-circles, which are always 
difficult dance movements; then add strong physical exertion of the 
body. In time, if you are clear on these points, you will begin 
to adopt them unconsciously, and will pass into a finer state of 
grace thereby. Train the mind to recognize an error of poise, both 
in yourself and in others. Never let the center of gravity over¬ 
pass the center of support; nor fall short of it; nor go to the right or 
left of it. When this does occur—and it is a universal error with 
all persons who lack culture of the muscles—the muscles of the 
waist, hips and legs will always be strained to maintain the body, 
thus adding continual unnecessary weariness to work, play, and 
exercise. 


“RUSTING WHILE RESTING.” 

The process of change is life. Growth depends upon activity 
carried to a certain degree of endurance and followed or intervened 
0 by rest. It is commonly supposed that rest is ordered by nature 



498 


RALSTON CULTURE 


for the purpose of making repairs in the body. This, may he so 
considered, if we look at the matter from a general and popular 
standpoint. The real use of rest is to give time for the vitality 
to come hack into the nervous system; for each cell and center is a 
small storehouse of electrical life. Exercise draws rapidly from, 
these batteries the vital force of the body; hut every loss is a stimu¬ 
lus which excites a greater supply; so that the use of a faculty is 
the means whereby its growth is assured. The body is not intended 
for a still engine. All through its countless avenues and paths, 
its myriad operations and processes, the vital current lives like 
streams of action, directed hither and thither in busy haste as 
though a million cities thrived in everyone of its varied sections. 
This unceasing activity is its life, and is necessary to its existence. 
Of course we understand that any over-straining is dangerous to 
the welfare of the whole or part. The teeming energies are not 
visible to the outward gaze; but if a microscopic man could inhabit 
the inward parts and travel about, at will, he would experience the 
hum of a greater industry than would be apparent to a visitor in a 
city of endless factories. There is but one motive-power behind 
all this business of living, and that is its vitality. It increases by 
use, and grows less by disuse. Rest is not recuperative without 
the excitement of some kind of activity. A dead rest is not only 
useless but is dangerous. Extra sleep, or extra-solid sleep, serves to 
deaden the faculties; the, person who sleeps ten hours at once, will 
awake in a stupid mood. When athletes have been engaged in 
contests that have deprived them of sleep, or when soldiers or 
sailors have fought or worked continuously for many hours beyond 
the period of the ordinary day’s occupation, a long sleep is not al¬ 
lowed, owing to the injury it will produce. So a listless, lazy exist¬ 
ence, long continued sedentary habits, lounging, lying down too 
much, lolling in a rocking chair, and a lack of enjoyment in 
physical activity, will lower the vitality and lead to a weak condi¬ 
tion of all the organs, the blood, the brain and the nervous system. 
In every such instance you may see the invalid, despite the boast of 
health. 


“BALANCE OF OUR PHYSICAL BEING.” 

The body is an intricate and complex structure, capable of 
thousands upon thousands of changing employments. No ma- 



LITTLE LECTURES 


499 


chinery invented by man is so simple; none so variable. This ag¬ 
gregation of bones, prilled by muscles which are driven by electric - 
vitality, is endowed with more kinds of action than any great dic¬ 
tionary could find terms enough to designate. It runs in all degrees 
of speed, all kinds of action, and all methods of step and energy; ifc 
walks in numberless styles; it jumps in directions, lengths and 
heights to suit the will; it lifts, carries, pushes, pulls, drags, bends, 
stretches, strikes, receives, rejects, caresses, fights, works, plays, 
and engages in every kind of occupation that the versatile mind 
can conjure up; and so many are its possibilities of change that a 
life time of eighty years would be too brief to enact them. Yet 
this multiform machine is allowed to run in some little rut, because 
an indolent will-power is content with the least efforts necessary 
to passing the day. Unhappiness clouds the mind in propor¬ 
tion as the physical being is deprived of its balance of activity. It 
is not enough that the man or woman works hard; the most vari¬ 
able labor is but a series of small ruts. The farmer uses the 
physical body over again and again in the same way; the busy 
housewife has enough to do, and changes enough, goodness knows, 
but it is the same daily string of employments, all monotonous and 
fixed. There are a thousand lines of change, all different from her 
own rut of existence; and she needs them. The laborer never re¬ 
laxes to call the vital energies away from the set muscles; so they 
grow stiff and lose the spring and flexibility of life. It is dull work 
and dead rest to him, one alternating with the other. He loses his 
health and has a long series of struggles to ward off the very mal¬ 
adies that his very occupation ought to cure, and certainly prevent. 
The heavy course lines of work need a balance in the lighter and 
more delicate uses of the muscles. We laugh at the idea of send¬ 
ing a watch to the blacksmith to be repaired; yet the very reason 
why the smith is coarse, brawny and animal, is that he does not 
have the finer uses of his muscles, not because he cannot, but be¬ 
cause he will not. One of the best types of balanced men, of well 
formed men, of bright, brilliant men, was one who' proved to his 
neighbors that the same hands that wield the sledge can repair the 
watch. The less we exert the body physically, the more we ought 
to do it; the greater strain of one employment, the greater should 
be the delicacy of another; the more attention is given to certain 
muscles, the more should be given to 1 others by way of balance; and 
thus the vital equilibrium is sustained, and life grows stronger. 


500 


RALSTON CULTURE 


“ equilibrium of THE FACULTIES.” 

In another article we speak of the value of a balance of the 
physical being. In a far broader sense we now propose to discuss 
what is not confined to the muscular system, but to self as an or¬ 
ganized existence. Muscles are simply the cords and belting of 
machinery. If you look into the factory-room, you will notice the 
wheels and shafting performing their work of transient activity 
to the machinery; generally through straps of leather or woven 
belting. The muscles of the body serve only to pull the bones 
about; the stiffness and solidity of the latter being responsible for 
the real value of the work. Strength is derived from the power 
of the muscles to contract and pull the bones from one position to 
another. The man who lifts a hundred pounds with his right 
hand and arm, must have that amount of strength in the arm- 
muscles, but they pull the bones up, and the latter must not break 
in the exertion. So the muscular system includes the bones, 
sinews, cords, tendons, and a fibrous interweaving of tissue whereby 
the muscles are made fast to their stiff er companions. This is 
about one-third or one-fourth of our being. Overuse of the 
physical part lessens the capabilities of the other departments. If 
a man has enough vital-energy to spare; he may use the muscular 
faculties to excess and yet maintain a bright, deep mind; but not 
for many years. The great scholars who have been athletes have 
maintained an equilibrium between mind and muscles, whereby the 
latter have stimulated and benefited the former, as is often the case. 
The brainy man and woman who have neglected the uses of the 
physical faculties have been morbid, sickly and of limited useful¬ 
ness in the world. Here we see two sides of our nature. There 
are two others; the nervous, which includes the passional and the 
emotional; and the moral, which includes the philosophy of ethics 
either in or out of religion. Earth’s greatest genuises have main¬ 
tained this four-sided balance; have lived long and useful lives; 
and have gone further, achieved more and given the world a larger 
heritage than the one-sided, or two-sided characters that have shed 
some sparks of brilliance. Washington was deeply religious; 
Webster was deeply religious; Gladstone was deeply religious; and 
so were thousands of others whose places almost touched theirs. 
Washington was an all-round athlete; Webster was an all-round 
athlete; Gladstone was an all-round athlete; in the sense that their 
muscular powers were kept constantly in full use, though chiefly 


LITTLE LECTURES 


501 


in exercise. Yet these three greatest men were of the loftiest 
mental stature, each in his own sphere. Health and longevity, 
happiness and success are dependent upon a constantly maintained 
equilibrium of the faculties. 


INERTIA. 

The most common fanlt in every life is that which we call by 
the name inertia; or the inability to do the right thing at the right 
time through a stagnation of the will power. It is seen most fre¬ 
quently in the morning, on awaking for the day. The quick leap 
that brings the body out of bed to the floor is not forthcoming, and 
time lags uselessly along. No particular injury results from this; 
but when the same inertia attends one in time of needed change of 
situation, and there is not the life or the will power sufficient to 
make the change, ill-health is the penalty. The body gets over¬ 
heated through too much exercise, and something should be 
thrown over it to prevent a chilling, or it should be protected by 
gradually lessening the effort to a finish, or it requires relaxing of 
the muscular tension or energy, so that the excitement of exercise 
or work should be allayed as soon as possible. As some of this is 
too technical to be generally understood, it may be said that when 
the body is so warm as to be uncomfortable it should be cared for 
more than when it is comfortable; and this very thing is what the 
individual lacks power to do because the mind is not operative in 
its will department. A mother at a dance requested her daughter 
to move away from the open window; she said she did not feel cold, 
but would move in a minute, as she was busy in conversation with 
a very dear friend. She died of pneumonia in three weeks. The 
heat of a room becomes too great or too little; but the small effort 
that is required is delayed to the last extreme. The habits of the 
body are allowed to go to the bad, because there is not energy 
enough to perform the slight duties that make them better. This 
inertia is seen in nearly all children, and continues through life. 
Many a person has brought on chronic difficulties of the lower 
organs simply because it has required a little annoyance to leave 
some pleasant game, some interesting chat, or some novel, and go 
a short distance to attend to the duties of the body. A man of fifty 
o said not long ago that he was now suffering from the neglect of his 





502 


RALSTON CULTURE 


previous years; the undoing of which cost him ten thousand times 
as much effort as would have been required in the times, all put 
together, when he could have avoided the harm by walking a few 
steps. Inertia is seen in every way. It is of the mind and of the 
muscles. In the study of the physical demands of the body, it is 
of the highest importance that every exercise he taken, and that no 
lesson is missed; for, in case they are too severe, it is possible to 
take them in a very slight degree, and thus prevent strain or weari¬ 
ness. There is no time in the month when a woman should not be 
able to exercise gently, and the more she can do this without tax¬ 
ing her strength, the less she will feel the effects of the efforts. 
Her reasoning works out to the contrary of her expectations. The 
same is true of men who feel weak; the more they exercise ju¬ 
diciously, the more they will gain of strength. If once the tired 
person, even the invalid, can be made to overcome the inertia that 
stands in the way of effort, the road to health is sure. The mind, 
however, is as indifferent as the body, and needs to be awakened 
to the necessity of paying proper attention to what is eaten, and 
what are the best habits of daily life. 


DANGERS OF THE GYMNASIUM. 

Going to a well-known gymnasium one day as a visitor, we 
were told that the modern idea was to avoid too strong muscular 
tax, owing to the permanent effects which were the result of exces¬ 
sive exercising. There are many views from which the question 
may be examined; and the defenders of gymnasium practice are 
either those who have an interest in the institution for financial 
gains, as teachers, promoters and owners; or else are those who have 
taken pride in organizing such institutions in their community, 
and who are unwilling to believe that they are at all injurious. 
When cornered by a long array of facts, they admit that excess of 
exercise is bad; and justify the excuse by adding that anything 
taken to excess is bad, as we all know. The trouble is that, when 
one is excited or over-interested, he does not feel the excess until 
the injury has been done. To understand why the severe and heavy 
tasks of the gymnasium are dangerous we must look at the struc¬ 
ture of the body itself. We find it made up of bone, muscles, 
nerves, organs, and flesh material which we call tissue. All life is 



LITTLE LECTURES 


503 


feel from this tissue; and it is necessary to maintain it - in as good 
a condition as possible. It serves as the storage ground for both 
vitality and nutrition. While, without doubt, it contains the fibres 
of muscles, it is quite different from the cords and strings which are 
popularly known as the muscles of the body; and they differ from 
the latter largely in the fact that they are flesh, while 1 the muscles 
are mere toughened fibres. They are woven into strings as rope 
is made, taking them in a general sense:; and they serve no other 
purpose than to pull the hones about. For each hone there are two 
muscles; one to pull one way, the other to pull the other. Yet 
there are men, and women too, who advocate the strong and over¬ 
taxing exercises of the gymnasium, when the first result is to de¬ 
velop all muscles over the chest, and drive away the flesh tissue, 
which is so much needed to supply the chest and lungs with vitality 
and to serve as a fund for transmitting nutrition to the vital organs. 
To increase the value of the chest, the lungs themselves must he 
made larger and more useful; for life and health are always coex¬ 
tensive with the condition of these organs. But exercise that 
increases the size and hulk of the muscles that over-lie the chest- 
frame, prevent the expansion and growth of the lungs themselves; 
and this is one of the most potent reasons why the athletes die of 
consumption. Among the supposed healthy classes, the death rate 
from this one disease, is startlingly great in the ranks of athletes; 
they lead all others in mortality; and generally in the; thirties. We 
recall the names of several young men of seemingly perfect health, 
whose parents had never shown any trace of consumption, hut who 
thought that the gymnasium was the place for them, all of whom 
died of consumption in less than four years after commencing prac¬ 
tice. They were in different parts of the country, being merely 
examples selected at random. Not only are consumption, weak 
lungs, and chest maladies sure to- follow the practice of getting the 
chest into the well-known muscle-hound condition; hut the de¬ 
struction of the flesh masses will bring about the same result. The 
young man who points with pride to the cordy and brawny frame, 
may well look out for atrophy and consumption. Beneath that pile 
of muscles the lungs are stagnant and packed into crowded quar¬ 
ters. What is true of the chest is as well true of the entire body. 
No healthy person can take much comfort in mere muscles. If 
he wishes them to show, he might as well carry ropes and strings 
about in his pockets. This is an age of brains and executive 


504 


RALSTON CULTURE 


thought; and it must, therefore, he an age of balance in all the 
faculties of the body. 


USELESSNESS OF APPARATUS. 

Many dealers make a regular business of advertising certain 
apparatus for home practice, as a means of gaining health. Most 
of these are in the form of lifts, weights, pulleys, handles, and the 
like, intended to give opportunity for moving the arms, with the 
extra claim that the waist muscles are also involved in the practice. 
Much extravagant nonsense is added in the way of a multitude of 
supposed benefits; but, when the apparatus comes into the house 
and is put in place, the childishness of the whole proceeding is at 
once apparent; and very few persons spend the time in the idle 
efforts which are called for. One good free exercise will do more in 
three minutes, and tire the body less, than a year of this kind of 
feeble action of the arms and general body. Then there are all 
kinds of apparatus, from the simple affairs just mentioned to the 
varied forms of bells, clubs, wands, bars, trapeze, and what not, 
all having some special claim attached to them. When we ask 
why so much attention is given to inventing something to go in 
the hands, the answer is that it is necessary to tax the strength to 
its utmost, a thing which is not possible without apparatus. Both 
these claims are wrong, and untenable. In the first place it is not 
necessary to so tax the body that all the strength is required for any 
movement or series of movements. To do this is to break down 
tissue-structure that will never be replaced; leading to atrophy and 
consumption. In all exercise it is important that there be a re¬ 
serve force always at command which is not to be used, but which 
serves as a background for the effort and avoids the extreme ex¬ 
haustion that is so dangerous. On the other hand, it is not true 
that apparatus are needed to keep the muscles up to their highest 
limits; for we can name a score of movements, all free, that will re¬ 
quire more strength and endurance than any apparatus calls for. 
In fact some of the Ralston movements were so severely taxing 
that teachers were required to avoid giving them to pupils unless 
they had shown more than ordinary powers of endurance, or pos¬ 
sessed unusual strength. To prevent misuse these heavy free 
movements were withdrawn, as they served no real purpose, except 
to prove the claim that a movement without apparatus can be made 



LITTLE LECTURES 


505 


more taxing than one with the heaviest apparatus. Then it is ap¬ 
parent that nature has bnilt the body on such lines that all and 
more exercise or physical effort may be given it than it really needs. 
A clear objection to the use of instruments of any kind, except 
perhaps wands, is the fact that they make the parts of the body 
grow to excessive size. In some cases the waist has been over-devel¬ 
oped; in others, the hands; in others, the feet; and so on, depending 
on the instrument used, and how it is employed. A lady who had a 
strong desire to learn fencing found that, at the end of a few 
months 5 practice, she had to wear gloves three sizes larger. A 
society man took up the practice of club-swinging, and found that 
he had the same over-developing of the hands. It is true that, 
when there is an exact balancing of all parts of the body, of all sets 
of muscles in all kinds of ways, it is not possible for any one part 
to grow to an excessive size. This test has been made with the 
heaviest of movements; and the general distribution of action pre¬ 
vented the nutrition from going to any one part. 


“LIMITS IN EXERCISE.” 

There is a bright and a dark side to everything in life; and the 
dark side of exercise is found in the wearisome drill that is unre¬ 
lieved after the newness wears off. This does not accomplish very 
much good. When a person has had some out-door life; or has 
once been accustomed to the strong use of the muscles, the ab¬ 
sence of any practice is sorely felt in the desire to get into some 
degree of activity again; so the person is willing to> stand and per¬ 
form movements as long as the system cries for this work; and they 
feel better, those who do this. So there are invalids who are de¬ 
cidedly refreshed by practicing the exercises when the body is 
troubled with ennui. We like nothing better than a good stretch 
and some of the invigorating movements, which are included in the 
Ralston system; it is easier to think, to worx, to write, to teach, to 
converse, to do business, after the blood has been sent coursing in 
vigor through the veins, as these exercises will surely do; and so 
they do not need spiriting encouragment or inspiring music, and a 
magnetic teacher. They are, of themselves, capable of creating all 
the enthusiasm that is needed. It is when we add music and the 
charms of rhythm that the danger is seen, as in the dance. A 



506 


RALSTON CULTURE 


young lady of weak heart and a good companion will out-dance her 
vitality that she pays the penalty in several ways. This girl says 
she is unable to walk, or do anything, because of certain trouble 
peculiar to her sex; and she is also very fond of dancing. We 
learn that health depends more on balance than on action; for one 
kind of activity will destroy the life while all kinds in complete 
balance and harmony will build it up. To dance is to carry all the 
weight in a vertical use of the muscles, which is exceedingly trying 
on the organic structure of women, when this structure must be 
lifted in its full weight clear off the floor as is done even in the 
most delicate methods of dancing, and is done a thousand times in 
one evening. But the music and the enthusiasm of good com¬ 
panionship are hard combinations with which to confront the good 
judgment of those who are ordinarily brainy and cautious. So in 
contests with others or with the ideas of the exercise itself, as when 
the individual seeks to- know if the body is capable of performing 
certain difficult things., the interest will take one far beyond the 
limit that should be placed on the, efforts of the muscles; for they 
act only by the energy of the vitality that is stored away in the 
body. The sets of movements that comprise the Balston system of 
physical culture will tend to over-interest the pupil or individual 
who is engaged in practicing them; and the teacher must see that 
no one is allowed to go to 1 this limit. It may be asked why we have 
presented a system that so holds the interest; and the answer is, 
that it is necessary to create all the enthusiasm that is found in the 
dance itself, in order to make the work pleasing and beneficial. 
All the pupils we have had, who have been dancers, have expressed 
the opinion that the pleasure of the practice of the present system 
of physical culture is even more fascinating than the best dancing. 
They, above all others^ need that gentle restraint which is neces¬ 
sary to prevent over-exe*rtion. 


“THE RUDDY GLOW OF HEALTH.” 

By this is meant, that every person who is in health gives evi¬ 
dence of it in the condition of the blood in the face. Pale persons 
are not in possession of the required amount of blood to keep the 
body supplied with its needed vitality. Yellow faces show lack of 
blood and the contamination of bile that comes from the liver, 



LITTLE LECTURES 


507 


often entering the circulation through the second stomach and get¬ 
ting round to the stomach by the upper course of this fluid, much 
to the surprise of those who believe that bile cannot reach the 
upper or first stomach. Then we have what is called bad blood, 
not an insufficient supply, but an unwholesome kind, of which 
there may be too much. The Anglo-Saxon is, by virtue of his 
superior heritage, the possessor of good blood unless the sins of his 
ancestors have deluged it with the king’s evil; a, malady founded 
upon the wickedness of those who have had license in life. It is 
said that ninety per cent, at least of all men and women now in¬ 
herit some of this disorder, as it is hard to find those who have not, 
somewhere in the past, had erring ancestors. This kind of blood is 
diseased. From it, in other combinations due to other causes, 
come the cancers, the sores, the abscesses, and the general impurity 
of the blood. There are millions of men and women to-day who 
are taking medicine for the purpose of eradicating these impurities; 
and the only evidence they have of the value or efficacy of such 
medicines, is derived from the specious claims of the advertise¬ 
ments, which the poor fools believe in because there are pictures 
and testimonials from prominent persons, either fictitious, bought, 
misguided, or partners in the scheme', who tell monstrous untruths 
about the past deeds of the vile stuff, the fearful poisons, the 
drugged concoctions which lead to worse maladies than they pre¬ 
tend to cure. Let us see, if in this brief article', we can impress 
one sensible idea on the minds of those who may read these pages, 
and are addicted to the habit of using advertised medicines. The 
blood cannot be created out of medicine; nothing but nutrition can 
build it up. Medicine will not make bread and meat; nor do any 
medicines on the market to-day, except a very few that are pre¬ 
scribed by regular physicians in good standing, contain any of the 
blood-making elements; and, even when they do, they are not the 
best means of building up the blood, for they are not organized 
foods. It is not possible to get vitality and life out of any food 
that is not of organic growth, whether in the animal or vegetable 
kingdom; and this is why the users of the patent food medicines 
always grow weak in the heart and have a scarce quantity of blood. 
Therefore, it must be understood that, in order to build the blood, 
there must be nutrition and it must come from foods that have 
been organized in growing nature, and not from minerals and 
0 chemical concoctions even from vegetables; for chemistry can 


508 


RALSTON CULTURE 


quickly disorganize the vital properties of vegetables. The so- 
called vegetable compounds and vegetable medicines are generally 
minerals of the most injurious kinds; but they may be from vege¬ 
tation, and yet rank poisons. In order to build good blood, the old 
must be destroyed; and the only natural way, and the only safe 
way, is to burn up the old blood by the fires of the body. Fevers 
are constituted by nature to do this, and such is their only mis¬ 
sion; but we do not need a fever to get rid of the bad materials in 
the blood.' When an exercise has gone far enough to bring the 
ruddy glow of health to the face, that extra red in the hue is a sure 
indication that a conflagration is raging, and that the old blood is 
being burnt up. Now what is wanted is the good sense of the in¬ 
dividual to tell him or her that pure, wholesome food must precede 
the exercise, so as to have good nutrition ready to supply the per¬ 
fect in place of the imperfect; and here is the whole story of mak¬ 
ing new blood. 


“VALUE OF MUSIC IN EXERCISE.” 

We are all trained to rhythm even before we are born. The 
cord of life pulsates to a double rhythm; in the heart beats and in 
the waves of alternating variety. The peculiarity of this double 
rhythm is worth considering. An unborn child has its own heart 
action, and that of its mother. When a physician wishes to know 
if the foetus lives, he must listen for the movement of its heart at 
certain stages of its life; and he knows that he must catch that 
quick, slighter beat that distinguishes it from the even rapid pul¬ 
sations of the navel cord that binds it to its mother’s life. The 
child, then, has a double beat; and from this comes the double 
rhythm of the after existence, when it is a human being in the 
world. It will be noticed that, in respiration, the breath comes 
and goes without reference to the heart, and this may be ascribed 
very properly to the larger action of the diaphragm which is not 
capable of such rapidity as the heart. The breathing of perfect 
sleep is perfect rhythm. The beating of a healthy heart is in per¬ 
fect rhythm. Yet in both these cases there is a modulating 
rhythm. Every fourth beat of the heart is regularly a stronger one 
than the other three, in some cases; and, in others, there is a fixed 
pulsation, either in lesser or greater number. All this is easily 
ascertained by listening at the heart of another, by placing the ear 



LITTLE LECTURES 


509 


upon the chest a little to the left of its center. So every fourth 
breath is stronger than the others; though in cases it is the third, 
the fifth or the sixth. Rhythm will set the feet in motion, will set 
the fingers drumming, will bring the body into action when all 
other methods fail. The child is attracted by a jingle that has this 
regularity of recurring sound; and it must always he sound. To 
the eye there is no such thing as rhythm; nor is there to the tongue, 
to the smell or to the touch. To see a thing regularly will tire the 
brain, and weary the sense. Sound is capable of dividing the brain 
into two uses; one that hears and does not know; the other that 
hears and knows. Thus we listen to sounds ail day long that we 
are not conscious of in the thinking brain, yet know them at the 
time they are made. Thus we can hear every word of a remark, 
and not get an idea into the head. Thus we can catch all that is 
said in a speech, as in a sermon that is uninteresting, and not let 
one of its ideas go so far as the thinking brain. Rhythm does not 
appeal to the mind; but merely tp the first brain that sound attacks. 
It will often set muscles going when we are not cognizant of the 
fact. We can do all that an exercise requires, yet not pay any at¬ 
tention to the inspiring cause of its rhythm, its regularity, and its 
earnest repetition. Here the 1 great office of music is seen, for if 
makes us work with pleasure, and do all that is required without 
having to take the trouble to think of that most important part of 
the duty. Laborers can, do more work with song than without. 
The heavy load is hoisted by the call of “Heave-ho!” sung in merry 
rhythm. The anvil rings out its ditty when accompanied by some 
cheerful air; and its music has inspired the beautiful and almost 
sublime “Anvil Chorus” of the opera “II Trovatore ” The drum 
gives rhpthm to the marching troops, and the gayly playing bands, 
setting the air in motion by their martial strains, will nerve the sol¬ 
dier on to the impetuous assault, fearless alike of foemen or death. 
There is no nation that does its fighting without this inspiring 
power; leading the armies to the very line of battle, and then 
plunging them into the grand assault. 


“BAD METHODS OF TEACHING.” 

Much depends on the teacher in everything; and fully as much 
is required of the person who attempts to instruct others in physical 



510 


RALSTON CULTURE 


culture as in anything else. It is not always easy to see what is 
needed in the process of carrying a class to a successful end in this 
line of development. As in every profession and in every line of 
business there are all kinds of minds and all degrees of executive 
ability, so there are successful and unsuccessful teachers of Ralston 
Physical Culture. Some fail because they believe the exercises will 
teach themselves whether the teacher is fitted or not for the work. 
They argue that, if the system is a good one, it cannot fail. They 
forget that poor music in the hands of a good musician is better 
than good music in the hands of a poor musician. IsTo matter how 
grand the composition, if the would-be performer does not know 
anything about it, or has but a limited amount of knowledge, or 
lacks the brains to make the details intelligible, there can be but 
one result and that is sure to be failure. The first qualification of 
a good teacher is that the exercises be well committed to memory, 
including all their parts and variations. The next is to know the 
music and its movements as they apply to the details of each ex¬ 
ercise. Sometimes the teacher will say that the music is in a cer¬ 
tain time; and it must, therefore, be easy to catch; but the fact is, 
the music may be in the proper time, and yet the accent be quite 
contrary to the action of the exercise. Thus, there may be a thou¬ 
sand waltzes that have the time of the movement, but are not 
adapted to it. When the. proper music is at hand, the next thing 
is to rehearse it with the musician till both he and the teacher are 
quite sure of the time and manner in which it should be rendered. 
A teacher must be familiar with the methods of the player, and 
this can be attained only by frequent rehearsal; and by untiring 
effort to come into perfect accord with each other's work. It is 
always a bad plan to go before a class unprepared; and the attempt 
to pass a poor effort off as a good one will not pay in the long run; 
for such a teacher has no staying powers. While before the class it 
is the duty of a teacher to not let anything go by chance or hap¬ 
hazard. Every pupil must be known, and the limit of the whole 
exercise at any one time, must be the limit of the strength of the 
weakest; with the provision that the limit must not be reached. 
There should be no tiring the class, or any member of it. The fact 
that most of them are able to endure the exercises even to a farther 
degree is no reason why one should be overtaxed; and to prevent 
such mishaps the pupils who need the most watching should be 
closest to the teacher. Frequent rests, very brief in time, should 


LITTLE LECTURES 


511 


be ordered. A long period of exercising, followed by a long rest, 
works a donble injury; it over-weari es, and it allows the muscles to 
become stiff by the waiting. In order that the teacher should not 
judge the freshness of the class by his own strength, it is a good 
plan to try all the movements for an hour before the class, and thus 
be somewhat tired to start with; otherwise it will take a keen 
eye to discern the condition of the pupils by their faces. Exercises 
should not follow in the order in which they are presented in the 
book. That arrangement is necessary in order to know where to 
find a given movement. 

This is the close of the big little lectures, as we call these 
at this part of the book. The intended course appears in the 
earlier pages, in the form of 102 half-page talks under the larger 
size figures of the exercises in physical training. We wish at this 
place to add a word of advice as how to best use the music in 
the present volume. 

How to Use the Music.— You will at first find it difficult 
to get at it for playing; and if you are impatient or crude in your 
general habits, you will seek the remedy by cutting it out. This 
you have no right to do; and it is not at all necessary. Then will 
arise the inquiry, “How can the teacher conduct the classes if the 
musician has the music at the piano?” The answer is, that the 
teacher can never conduct classes by depending on the book for 
preparation at the time of teaching. It requires great familiarity, 
and this is attained by reading and re-reading many times the 
text of explanation; and the more ideas he has in his head from 
Ralston books, the more fertile will be his resources as a teacher. 

The best method of teaching is to determine what exer¬ 
cises will constitute the lesson for each day; then write down on 
a piece of paper the number and the name of the exercise. The 
number will be given by you to the musician, and will at once refer 
to the music, which bears the same number as the exercise. You 
may not recall the nature of the movement; and that is why you 
should either remember it, or else have its name written down 
against its number. Let the book rest on the piano, and be held 
open by two other books at its side; or better, get a piece of iron 
12 inches long, l\ inches wide and a quarter inch thick, covered 
with paper, and place it at the lower edge of the open pages. Under 
these methods it will remain open as well as any sheet music, and 
even better. 


NAMES Or THE EXERCISES 

IN 

Ralston Physical Culture 


A FTER two or three repetitions, any movement may 
be recalled by its name. As it requires much time to mem¬ 
orize numbers without associate ideas to help the mind to 
grasp the meaning of mere figures, we find it safer to know 
each exercise by some name, which can be quickly copied and seen 
at a glance. Even the pupils are thus enabled to catch the full 
idea by reference to such title. Ralston Physical Culture is based 
upon 102 movements, and their variations and degrees of action. 
Herewith we present the full system by name and number, the 
latter always making it easy for the musician to find the air. 

1. First Iron Legs. 

2. Swaying. 

3. Front and Lateral Leg Bending. 

4. Sitting on Heels. 

5. Swaying and Lifting. 

6. Side Sliding. 

7. Rising on One Foot. 

8. Rising on Toes. 

9. Rising on One Toe. 

10. Front Foot Circle. 

11. Floor Foot Circle. 

12. Floor Foot Half Circle. 

13. Making V*s. 

14. Ankle Rocking. 

15. Ankle Walking 

16. Ankle Prying. 

17. Ankle Swing. 

18. Ankle Dance. 

19. Front Knee Exercise. 

20. Lateral Knee Exercise. 

21. Back-Knee Exercise. 

22. Reverse Lateral Knee Exercise. 

( 512 ) 



NAMES OF THE EXERCISES 


513 


23. Kneeling and Rising. 

24. Double-Kneeling. 

25. Forward Hip Action. 

26. Lateral Hip Action. 

27. Circular Hip Action. 

28. CrOss-leg Hip Action. 

29. Side Swing Hip Action. 

30. Kneeling Hip Action. 

31. Lateral Waist Action. 

32. Inverted Cone. 

33. Diagonal Waist Action. 

34. Revolving Waist Action. 

35. Walking Beam. 

36. Kneeling Waist Action. 

37. Breathing Action. 

38. Chest Resistance. 

39. Wing Action. 

40. Perpendicular Drill. 

41. Double Slapping. 

42. Chest Semi-circles. 

43. Rising Shoulder Action. 

44. Forward Shoulder Action. 

45. Right Angles. 

46. The Great Circle. 

47. Plucking Grapes. 

48. Pushing and Pressing. 

49. Revolving Arms. 

50. Whip Lash. 

51. Arm Quarter Circles. 

52. Magnetism. 

53. Flying. 

54. Double Circle. 

55. Hand Closing. 

56. Double Hand Hinge. 

57. Hooked Hands. 

58. Palm Action to Chest. 

59. Hand-clapping Semi-circles. 

60. Happy Hand Action. 

61. Forward Head Action. 

62. Lateral Head Action. 




514 


RALSTON CULTURE 


G3. Circular Head Action. 

64. Turning Head Action. 

65. Rolling Head. 

66. Craning Heck. 

67. Overhead Whole Body. 

68. Heck to Knees. 

69. Handkerchief Exercise. 

70. Gypsy Camp. 

71. Earth and Sky. 

72. Turkish Salute. 

73. Rapid Fist Circles. 

74. Rapid Arm Measure. 

75. Farmer’s Warming. 

76. Rapid Finger Circles. 

77. Elbowing. 

78. Ready to Jump. 

79. Plain Light Step. 

80. Lateral Light Step. 

81. Running. 

82. Rising Light Step. 

83. Sailor’s Dance. 

84. Rocking Run. 

85. Hand Devitalizing. 

86. Foot Devitalizing. 

87. Forearm Devitalizing. 

88. Whole Arm Devitalizing. 

89. Swinging Devitalizing. 

90. Whole Body Devitalizing. 

91. Ladder. 

92. Bell Ringing. 

93. The Anvils. 

94. Mowing Grass. 

95. The Miner. 

96. Gardening with Shovel. 

97. Childhood Skip. 

98. Fencing and Gunning. 

99. Wall Pushing. 

100. Stretching. 

101. Punching. 

102. Pulling. 


PUBLISHING COMPANY'S NOTICE 


515 


What Is Ahead? 


Dear Ralstonite:— 

You are now of the Tenth Star Degree, well settled and se¬ 
cure in your rank. This will never be disturbed. The advance 
of our great cause depends upon our members, of whom you are 
one, and, whether you are situated in a less favorable position 
in life than others, it is certain that you possess some influence 
if you have the courage to use it. The harder the chance of 
success may seem the more vitality of heart and mind will he 
acquired by fighting an up-hill battle. Ralstonism is spreading, 
and to our members belongs the credit. 

Now that you possess the tenth degree and its splendid 
emolument, you are on the threshold of a great world opening 
up to you in a broader manifestation of splendor than has ever 
yet been dreamed of. We cannot now tell you all that this 
means, nor can you realize it in any one step of the way, but we 
will try to make it as clear as possible in the “Natural College 
Guide,” which is obtained with the Certificate of Admission when 
you reach the Fifteenth Star Degree. Kindly read both sides 
the Gold Form which is attached at the end of this volume. 

Ralston Natural College 

is founded upon the important idea that true education is not 
of books, but may be obtained through some books, though not 
many. When a book is a collection of dry facts, abstruse ideas, 
processes of reasoning, and hard, intricate knowledge not in any 
sense a part of life, such a volume is a burden to the brain and a 
weariness to the heart. Too much of the education of school 
and college is of such a stamp; and very little real good ever 
comes out of it. The geniuses of the world have either escaped 
book-learning of that dry and technical sort, or else they have 
gone deeper and overthrown it. The towering giants of success 
have got close to nature in all their education. It is a rare book 
that reflects nature; that is the open portal to a knowledge of 



516 


RALSTON CULTURE 


real life; and in this age, when everybody seems to have run 
mad in printer’s ink, there is all the more need for a safe 
anchorage in solid learning. 

Ralston Natural College is a home course of reading, not 

study; hut your interest will be so great that you will abide in 
the grand fellowship of the books. Not one of them is hard 
to read. Their information is so vital and so interesting that 
they will drive all the worthless reading out of your life. Think 
what this means. When the trashy literature has gone, you will 
have time to devote to the problem of succeeding better; of win¬ 
ning success if you lack it; and of enjoying it if you possess it. 
Think also of the stimulus such a college will be for the young 
men and women who are growing up in the worst habits of mental 
employment. The purposes of Ralston Natural College may be 
stated as follows: 

1. To admit every person at the Fifteenth Star Degree, who 
seeks more substantial success and more real happiness in this 
world. 

2. To present at the fifteenth degree a Certificate of Ad¬ 
mission, and a copy of the “Natural College Guide,” which 
is a booklet devoted merely to unfolding the whole prospect of 
this new world. 

3. To present at every tenth degree, from the twentieth to 
the one hundredth, a grand emolument, the total value of which 
is very great. 

4. To make every such emolument a complete work upon 
some one subject, each distinct and widely different from all 
others. 

5. To prepare every Ralstonite for the battle of life by 
the best training that this earth affords, and herein to excel every 
educational institution in this respect. We understand fully what 
this statement implies; we have long been at work upon this one 
end, and we are prepared to help men and women as no other 
influence can. 

6. To present the successive volumes of Ralston Natural 
College in such shape as to make them unusually inviting and 
tempting; so that the mind will never tire of them, for they appeal 
to every faculty of the body, and are not of a nature to weary 
the brain. Knowledge, education, training, development, all are 


PUBLISHING COMPANY’S NOTICE 


517 


going on without strain or struggle; and this cannot be said 
of any other work ever published. 

7. At the end to grant the College Diploma free of 
charge to every person who has gone through the course under 
the requirements, and those who have not done so will be con¬ 
tinually helped and encouraged until they succeed. Full direc¬ 
tions are given at the fifteenth degree, which is explained in the 
Gold Form at the end of this volume. 

Many of these great emoluments are now ready, but 
others are being prepared as rapidly as possible. Enough are now 
available to keep you pleasantly employed in your leisure mo¬ 
ments. If you will notice the purpose of the books thus far pre¬ 
pared you will get an idea of the greatness of each and every one. 
Thus Ralston Gardens is in itself a complete world of health; 
while this volume, Ralston Culture, is the most comprehensive 
and fascinating work of its kind ever issued. The more you use 
its wealth the more you will realize this fact, and if you were 
to be paid a million dollars to find its equal you could not do 
it. It cannot be found. Then comes a much grander work than 
either of these, and it is called 

Ralston Citadel. 

Why does it bear that title? Because it is a fortress of safety. 
When you entered Ralston Gardens of Life you secured the best 
opportunity for maintaining or restoring your health. In that 
garden there was a temple of culture which we have called by the 
title of this book that you are now reading. But upon the 
heights of that garden, commanding the view from every point 
of the landscape, towering above it all like a fortress on the hill¬ 
top in a country rich in conflict, stands a mighty citadel of safety. 
Why is it so-called? 

1. Because the Ralstonite who enters this citadel is safe. 
Safe from what? Safe from every danger that can possibly arise 
in any way. This is a strong statement. But the citadel is a 
strong fortress. We realize what that implies. Years have been 
spent in the preparation of a book that can guarantee safety to 
every human being who comes under its influence. What we set 
about doing we accomplish. It was our order that such a book 
should be prepared, and here it is. 


518 


RALSTON CULTURE 


2. A man on liis dying bed, in bidding good-bye to his 
family, said: “I wish I could know that my sons and daughters 
were safe.” He- meant much more than we can explain in these 
brief lines. How many husbands wish the same of their wives? 
How many wives wish this of their husbands? How many par¬ 
ents yearn and hope and pray for the safety of their sons and 
daughters? To- be safe is the first consideration of existence. 

3. Note the castles old that were erected to protect their 
lords and vassals in time of danger; they provided one kind of 
safety. Note the armaments of the nations of the world; they 
afford protection of a certain kind. Note the training of the young 
from the prayer at the mother’s knee to the stalwart character 
of the indomitable will; safety is sought in this means of defence. 

4. Ralston Citadel affords every kind of safety for the in¬ 
dividual. 

Safety against failure. 

Safety against loss. 

Safety against malice. 

Safety against wrong habits. 

Safety of character. 

Safety against discouragement. 

Safety in business, in the professional career, in every under¬ 
taking. 

Safety in society, and the winning and maintenance of social 
position. 

Safety in friendships. 

Safety in the home. 

Safety in -every earthly relationship. 

It is, perhaps:, a peculiar book, but it is a great one, and it is 
such a book as is needed by every man and woman, every young 
man and young woman in existence. It carries you to the heights 
of life and there you are* given the fruits of earth. 

In addition to what we have said, Ralston Citadel con¬ 
tains the former emolument of the old fiftieth degree, entitled your 
temperament behind closed doors, but cempletely rewritten, 
so that every line is new, and it is a larger and far greater work 
than its predecessor. This portion of the volume is alone worth 
much more than any price that could be placed upon it; for there 
are some things that cannot be valued by cash. And there* is 
more and yet more in that twentieth degree of Star Ralstonism. ' 


PUBLISHING COMPANY’S NOTICE 


519 


The “Jewel Emblem/’ 

The Jewel Emblem is made to represent much that is 

symbolical in this great cause. ' On the reverse side is a circle 
bearing the password of the club. The circle has always meant 
completion, wholeness, or a state of being well. The seven- 
pointed star within means, as it always has meant, that hope is the 
guiding light of all humanity as long as there is anything left 
worth living for. On the face of the Jewel Emblem, set over 
the circle of perfection, is a, wreath of oak leaves, symbolical of the 
tree of life. The wreath means victory. The oak is the sturdiest 
of all trees; and has a history of unparalleled prominence. It is 
referred to as the “monarch of the forest,” and the “tree: of life; 
it was the worshipped tree of the: Britons when Caesar discovered 
them; it was the venerable tree of Palestine: under which Abraham 
pitched his tent, and it bore hisi name; the charter oak of New 
England held the priceless pages of liberty; the “holy oaks” of 
old England were places of religious service even as late as a 
few generations ago; and the “hearts of oak” seem always to have 
been typical of strength and loyalty to purpose. 

The wreath of oak leaves is, therefore, a source of inspi¬ 
ration to all who wear this magnificent charm. It is full of 
significant meaning. In the center is a sunburst star; a very 
peculiar effect in jewelry. There are seven points to the star, 
bearing symbolic evidence of the word Ralston and its seven greao 
laws. It is a star of hope, whose wavering points become the 
sunburst of a new day; a marvelous combination of meaning and 
power. One who> wore this charm said he “felt like a new man 
with a better understanding of the purpose of life,” every time 
the jewel emblem met his gaze. But this it not all. In the center 
of the seven-pointed sunburst star is a tiny diamond, pure and 
radiant, representing the soul-center of existence, the glittering 
fire of magnetism. Every part of this emblem is full of meaning, 
its equal has never yet been devised, and it ought to be a constant 
companion to every Ralstonite who wishes prosperity. It is truly 
a charm. 

What Resolution Will Accomplish. 

We determined some years ago to produce an emblem 
or charm that would be rich enough for the wealthiest man or 
woman to wear with pride, that would adorn a queen, and yet that 



520 


RALSTON CULTURE 


would maintain a consistent harmony with the true purposes for 
which it was designed. We tried again and again; we ; had the 
best artists design for us the most appropriate models in goid 
and precious stones, hut we were not satisfied until a certain goal 
was reached. We have now succeeded, and the Jewel Emblem 
passes all expectation. It is of that degree of beauty and rich¬ 
ness that it at once attracts attention, and yet it grows more 
and more fascinating every time you look at it. The cost is so 
great that it ought not to be given away; especially at the 
twentieth degree, where a grand emolument is already awaiting 
you; blit we wish these charms to he everywhere seen, so that 
members may know each other the world over. When you wear 
this token, with its diamond shining forth from its seven-pointed 
star, you may rest assured that some new friendship, some new 
success will be coming into your life. 

How Won? 

Tho palatial Ralston Citadel is very easily won, as may 
be seen by reference to the Gold Eokm; and there is no reason 
for delay in that matter. When you have taken possession of 
this new estate, there is a big gateway to be swung open and a 
beautiful ceremony whereby you enter the citadel; and it is this 
act that wins for you the Jewel Emblem. The requirements are 
by no means difficult; in fact they are quite brief and simple 
compared with the great value of this charm. 


A Diamond Set in Solid Gold 

in a sunburst star of seven points, shining within a wreath of 
oak leaves—this is the brief story of the most beautiful jewel 
we have ever seen; and we say frankly that every man and woman 
who is reasonably in earnest, can obtain the same very quickly. 
Let us see what kind of a charm this emblem is. It is a wreath 
of oak leaves mounted upon a circle, within which is a tiny 
diamond, warranted genuine, set upon a seven-pointed sunburst 
star; all being solid gold. The green leaf effect of the oak-wreath 
requires 18-karat gold, which is much better than is ever used in 
medals, emblems or jewelry. This is the daintiest and most 
exquisitely beautiful charm ever made, and is full of symbolical 
meaning. On the circle of the reverse side is the password of 
the Ralstonite. The oak is the “tree of life ” This emblem will 


PUBLISHING COMPANY'S NOTICE 521 

give you prestige wherever you go. All persons, great, influential, 
wealthy or humhle, will meet and greet you cordially in that 
world-wide brotherhood of Ralstonites. Our rule requires that it 
must always he worn in sight, so we may know one another the 
world over. This emblem will be worn by ladies and gentlemen 
as the best prized of all jewels. 

Another Great Advantage. 

Any Ralstonite who enters Ralston Citadel may be given 
the opportunity of advancing at once 1 to the One Hundredth Star 
Degree, without the payment of anything whatever, although 
the emoluments therein are worth many hundreds of dollars; and 
this advance will carry with it every right that would be received 
if the degrees were advanced either by purchase or by the use of 
invitations. The immediate leap from the twentieth to the one 
hundredth degree is an honor, and we grant it by an exchange of 
favors. This is very simple in its operation, and is fully explained 
in the volume, Ralston Citadel. 

Then Another Advantage 

which is entirely different from that just stated, is the special 
offer herewith whereby you may procure the giant work, Uni¬ 
versal Magnetism, and all intervening emoluments. If you hope 
to succeed as a teacher, do not lose a moment in getting Universal 
Magnetism. 

The fashion of the day is to study Shaftesbury. Edmund 
Shaftesbury’s immensely valuable private work, Universal Magnet¬ 
ism, teaching the magnetic control of others. Seventh edition. 

The appearance of this great volume has startled the scientific 
world by its accumulation of facts never before published and 
which cannot be obtained elsewhere. It is a new work, not an 
old one rewritten. 

Whether it is worth fifty dollars or not may be estimated from 
the following facts: 

1. It is by far the largest book ever written on the subject. 

2. It is the only recent work dealing with this matter, and is 
many years ahead of the last work of its kind. It is fully abreast 
of the age. 

3. It contains five times more matter and one hundred times 



522 


RALSTON CULTURE 


more information than the nearest competitor in size or value, It 
also contains 150 new principles, now printed for the first time. 

4. It shows by experiments that hypnotism is a negative 
power which depresses the person influenced, and that magnetism 
c is a positive power which charms and elevates the person in¬ 
fluenced. 

5. It shows that every person may at times be subject to 
hypnotic or magnetic forces, unless fortified by personal mag¬ 
netism. 

6. The success attained under the private study of its prin¬ 
ciples prove it to be the most valuable means of education for 
real life. Most great men and women have been self-educated, 
and have depended upon the very impulses which are furnished 
herein. 

7. We will place any graduate of this volume against any 
graduate of university or college, and prove the former to be 
better qualified to succeed in the world. 

8. More persons are studying Shaftesbury at this day than 
any other author or system. It is the acknowledged fashion. In 
Boston, New York, or any great city, you will see his books in 
hand everywhere'. Yet Universal Magnetism is the latest and 
greatest of all his works of training. 

9. This volume is divided into ten great realms and ten 
estates, any two of which are worth the full price of the whole 
work. 

10. The second realm is devoted to hypnotism, and this 
alone has the largest scope of any work ever published on the 
subject, is the most authentic, the most complete and thorough, 
and contains information, lessons and training not obtainable else¬ 
where. It would cost thousands of dollars in private lessons. 
Shaftesbury has trained some of the most successful hypnotists ’ 
living. 

11. The other realms and estates are devoted to the noble art 
of magnetism, “the power to influence or control mind and matter ” 
We do not believe failure is possible in the case of any student 
of this volume who is in earnest. We recommend five minutes 
a day of regime and twenty-five minutes a day of reading until 
the book is completed. The power then begins at once and in¬ 
creases constantly through life; the lessons being always used for 
reference and as a guide. They are inexhaustible. Having once 


PUBLISHING COMPANTS NOTICE 523 

; commenced the book, it is impossible to lay it permanently aside. 
A prominent American said, “Shaftesbury’s writings are as fasci¬ 
nating and magnetic as the strongest living personality. He 
proves that printed words may magnetize.” The only extra time 
required is when you make the tests of magnetism to determine 
the percentage you have attained. 

12. The book may be used for general gain, or for any one 
or more of the following special powers: 

Power over audiences. 

Power in the ministry. 

Power over juries. 

Power in the medical profession. 

Power in business. 

Power in social relations. 

Power over the opposite sex. 

Power in temptation. 

Power in self cures. 

Power in certain cures of other persons. 

Power through subconsciousness. 

If there is anything you wish to learn, or which you desire 
to have explained, or any power you wish to acquire- within 
range of human possibility, we guarantee that you will find it in 
this great encyclopaedia of magnetism, and nowhere else. Its 
price is not high; you pay twenty times, more for an academic 
education that is far less valuable. Sold only under private 
engagement. Price of complete training, Fifty Dollars. Free at 
Seventieth Star Degree. 

Note. —The reasons why we demand that the owner of the 
volume. Universal Magnetism, shall keep the work for his or 
her exclusive use are merely of a business nature., and are as 
follows: 1. Most persons seek the course of training for the 
purpose of influencing or controlling other persons, and the knowl¬ 
edge of that fact would lessen the influence sought to be exerted, 
making it harder, though not impossible, to win. 2. A husband 
conceals his purpose of study from his wife when her conduct 
is such that he may properly desire to secure control over her; 
and there are thousands of husbands who are secretly taking this 
course to-day. 3. A wife for the same reason may adopt a similar 
method; and our reports show that many husbands who had 


524 


RALSTON CULTURE 


neglected their homes and families have been brought into a 
higher plane of existence under the controlling influence of their 
wives. 4. Nearly all persons who secure this volume wish the 
fact kept secret, for it is a purely private affair. 5. It is like¬ 
wise true that nearly all persons who have previously taken the 
course are glad to make the promise of secrecy, in order to give 
a genuine excuse to those who would seek to borrow the book, if 
the matter were made known. 6. Many experiments are made 
and are to be made with owners of the book, looking to assisting 
them by the light of new facts; none of which would succeed, so 
as to prove the laws at work, unless we were sure of exclusive lines 
of influence. Much of our knowledge has been secured by the 
privacy of the experiments. This alone is of the highest advan¬ 
tage to those who would reap the fullest satisfaction. 7. The 
book itself, though complete and exhaustive, is not all that may 
come to the purchaser. What follows is free of all expense, and 
is sent only on the conditions stated in the volume, and as progress 
may in our opinion require. We are glad to receive reports 
from students of the book, and to act upon them. One of the 
necessary conditions is the strict observance of the contract. 

Here is a letter that speaks: “I was out of work last 
December, but I had $50.00 saved up in bank. Your offer came, 
but I would not part with my $50.00, not even for Universal 
Magnetism. I said it was all bosh! A week later a friend 
hurried to my house and exclaimed, TIave you seen Universal 
Magnetism? If not, get it at any cost. Mortgage all your other 
books, but get it/ I followed his advice. I got the book. It 
told me how I could get work, and I got it. I verily believe 
I can get anything I want now. I say to all persons, as was 
said to me, ‘Get that book at any cost/ ” 

One woman procured Universal Magnetism free as an 
emolument, and her quiet opinion induced four friends to send 
each $50.00 for as many copies. A man said to his son, “I have 
the new book. I cannot part with it, nor tell you what it con¬ 
tains, but I would rather you had a copy of the book than a college 
education.” And he sent a draft for $50.00 for a copy, the son 
signing the contract, 

A poor business man writes this: “I sent for Univer¬ 
sal Magnetism. I sold the memberships at $1.00 each and got 
all my money back; but I had the regular emoluments clear, and 


PUBLISHING COMPANTS NOTICE 


525 


also the great book. For that I present yon with another $50.00 
enclosed, as I cannot help expressing my gratitude. I was failing 
in business, and expected ruin to fall on my home, but that book 
told me what to do, and I did it. By its aid I shall accumu¬ 
late a fortune. The book is magnetic. I am a new being. I am 
making money. My family are all happy.” We wrote to certain 
business men of his community and found that he was really a 
changed man and was very prosperous, and all expressed surprise. 

To those who can spare the money at this time we 
make the following special offer. If you send seventy dollars in 
one remittance, we will advance you from your present Star 
Degree to that of the Universal Magnetism Degree; we will send 
you free the following emoluments: 

At the fifteenth degree the Certificate of Admission to 
Ralston Natural College; at the twentieth degree the palatial 
volume, Balston Citadel, and the way to the Jewel Emblem of 
golden oak-leaves surrounding a pure diamond; at the thirtieth 
degree, the most satisfactory book ever unit ten for you; at the 
fortieth degree, the Book of Books, price, five dollars; at the 
fiftieth degree, a new work of immense value; at the sixtieth 
degree, The Two Sexes, price, ten dollars; at the Universal 
Magnetism Degree, the great volume above described. We will 
also allow you to draw sixty copies of the book of Star-Raiston 
General Membership, all free, and will guarantee safe delivery 
on all such books and on all the emoluments; or we mil send 
the General Membership books to any persons on your order, sub¬ 
ject to the rule that no more than five copies at a time will be 
allowed you without names and addresses of the new members 
for whom they are intended. This rule enables all new recruits 
to secure the advantage of the franchise before the time expires, 
and thus deals justly with one and all alike. 

In order to obtain this special advantage it is necessary to copy 
the following notice:— 

To Balston Club, Washington, D. C.: 

I wish to go to the Universal Magnetism Degree at once, 
and enclose seventy dollars as per offer in the book of Ralston 
Culture, subject to all the conditions as made. I hereby state that 
my correct name and full address are as stated below; that I wish 
to engage in the study of advanced magnetism and the magnetic 


526 


RALSTON CULTURE 


control of others solely for the good I may accomplish, both in 
iiiy own development and in my dealings with others; and that 
the magnetic power I may acquire I will never use to enable me 
to obtain an unfair advantage over any person. And further, 
believing thoroughly in the motto that what is everybody’s affair 
is nobody’s^ and that it is good business judgment to keep special 
information of great value and importance! within the exclusive 
possession of those who pay for it (although its benefits may be 
given freely to others), I solemnly pledge my honor that I will 
not make known to any person from whom I have a right to 
keep my private affairs the whole or any part of the contents 
of the new volume, “Universal Magnetism;” nor will I sell, lend, 
hire out, or part with my actual possession of said volume to 
any person or persons whatsoever; and this I do frankly, intend¬ 
ing to abide by the same in full faith, without any mental 
reservation or intention of evading the direct import hereof, as 
well as for the purpose of not forfeiting the special advantages 
that may follow the purchase of the book. My answers to ques¬ 
tions are as follows: 

What is your temperament?... t L 

[If you do not know, state color of skin, hair and eyes.] " ; 

Are you cool and phlegmatic by habit, or are you high-strung, 
nervous and excitable?.. 


Name,.... 

City or Town,... 

County,. 

State,. ,... r. ........ 

P. 0. Box or Street and No., if any,. # . 

If you cannot spare the money, make use of invitations as 
stated on the reverse side of the Gold Form. Every invitation 
which is accepted at any time, no matter when, advances you one 
degree toward everything. Little by little you can climb to the 
very top, and some day let your home be decorated with your 
Diploma op Graduation- from Ralston Natural College, as 
your own presence should at once be ornamented by the 

Jewel Emblem, 
the charm of unvarying success. 










The Ninetieth Degree Star Ralston Emolument. 

IN EVERY LARGE PRIVATE LIBRARY. 


Ten Dollars Per Copy. TREE at Ninetieth Star 
Degree. 

.._._ 

I /^MOR T ALITY 

--- 

A Scientific Proof of Life After Death. 

SHAFTESBURY’S SUBLIME WORK. 


COMMENCING WITH EACTS. 

CONTINUING WITH EACTS. 

CONCLUDING WITH EACTS. 


0 


“/ oppose no sect and no creed. My religion is a personal accountability 
to the God of the Bible. Religion, however, is founded upon faith. Apart 
from such sources of guidance, there are certain facts in the universe that 
establish beyond doubt the immortality of the human soul. The demonstration 
of life beyond the grave, as set forth in the present volume, is based upon 
those facts, and not upon religion, inspiration , prophecy, speculation or psychic 
yearnings .” -SHAFTESBURY. 


If you have never seen it, you have no idea of its vastness. One of the 
best educated men of the age, Prof. George Horton Craft, Principal of High 
School, of Georgetown, Ky., says: “I regard Edmund Shaftesbury as the 
greatest literary genius of the world. The wealth of knowledge displayed in 
this immense volume [IMMORTALITY] will amaze even the most learned. I 
predict that it will outlive all secular literature of this or any age.” ^ 

Edward M. Barrett says: “Its equal does not exist in the English language.” 
State Senator (Minn.) R. E. Thompson says: “Shaftesbury’s book, 
IMMORTALITY, is an immortal work.” 

Rev. S. A. Apraham says : “ I have spent ten of the best years of my life 
in colleges and seminaries, and I can conscientiously say that the new book, 
IMMORTALITY, has done more than any other book or any professor of 
learning to open my eyes to the stupendous realities of existence,, and to 
strengthen my faith in God and the Gospels. No minister is a safe counselor 
who does not sympathize with and peruse this book, IMMORTALITY. That 
which I owe you through this and others of your books, no pen or tongue can 
describe. May God give you many, many years of service in which to lead 
humanity.” 



The Sixtieth Degree Star Ralston Emolument. 


Immense Sales at Tea Dollars 
per Copu, 

But TREE at Sixtieth Star Degree. 

.V\cii i <">' V\'or1)eng 

. . . or, . . . 

“THE TWO SEXES.” 


THE TWO SEXES consist of Twenty Books, all bound together in one 
GIANT VOLUME. These are as follows : 


BOOK i—Origin of the Sexes. . 

BOOK 2—The Two Sexes in Nature. 

BOOK 3—Anatomy and Physiology of the Sexes. 

BOOK 4—Design, Purpose and Uses. 

BOOK 5—The Budding of the Sexes. 

BOOK 6—The Blossoming of the Sexes. 

BOOK 7—Courtship and Selection. 

BOOK 8—Marriage and Mating. 

BOOK 9 —Sex Magnetism. 

BOOK io—Winning the Female. 

BOOK ii—Winning the Male. 

NOTE.—Books 9, 10 and 11 include the whole study of Personal Magnetism 
as far as it relates to these subjects, and the scope is very great. These three 
books alone contain nearly one thousand facts, laws and experiments. The 
latter are worth from $25.00 to $50.00 to an}' ambitious investigator. 

BOOK 12—Love; so-called. Normal and as a Nervous Disorder. 
BOOK 13—Sex Maladies of the Male. 

BOOK 14—Sex Maladies of the Female. 

BOOK 15—Hermaphrodites. 

BOOK 16—Laws of Offspring and Heredity. 

BOOK 17—The Male Brain. 

BOOK 18—The Female Brain. 

NOTE.—It is now known that every brain is either male or female; but the 
brain is not always physically sexed with the body. Thus, man}' men have 
female brains and many women have male brains. 

BOOK 19—Functions of the Two Sexes. 

BOOK 20—Destiny of the Two Sexes. 


The following agreement must accompany every order for “THE TWO 
SEXES:” “I will keep the volume exclusively for the use of myself and 
family, and will not make its contents known to any person from whom 
1 have a right to keep any private affairs.” 







7* 




, 0° 

•* ■"o r 

a *+ \ 

* a i c^ * v ') 

9 * 0 ’ ^ • I 1 * i? . 

■ \> .'*»» > .fT O 

V ,y, '.iVi’" ■*> * 

; ** v ^ \ 



: 


^ V) 





* 











<y 



^ '»♦'' vA VI. "A- '»•*'* • 

^ v/V^-* °C c° 

y <V v ^r/vvT? ^ v 

^ / , «0 x (\‘j//y/''^ > <>»*■ V 

A V * 0 £trffi& * o 0 X 
* 





•%. - 


*?> * m 

y 

N C ^ <> 

<P 

P t 1l> V v ^ 

< 0 * *- &A\l//S / >Z? 

r, ° 0 : 

® o 5 ^ " <= 

*- ^ j C\_ y <* o > d+ k. ~ . ^ 1 

* ff I A * A s * * ^/> * 0 N 0 > <*> * 0 , -\ * ^ V • ^ 

CV s s 7 a. Vi * > v ft n * 1 N* s <? <* * *y m v \ r 

»-V^ .,v- - /% 

0 - # V**'VV'*« ^''• , \/ t -.V-" 
; '^- V^ '*£lkt^ °W ° 4^^'% y 

* *+•*°°- yiSF- / ^ 

' ’* / % ^Tr-^V .. 

N v * 0 ^> (&■ s \+* T 

A^’ ^ 

c 
7. 


d* 






o N. 


> \^ ^-. ^ e ?Z<Z]M >7 • 

0 ' ^ ^ 0 , -\ * ^0 'o <y . 

^ «3 V . A -^’ K S 'P 

"<< e& * -7Vr®lfe * ,v, r ^<^/i V 




!.l c ' Vy'^/% “*''/ t • 

- ^ * Jfiu/fe + L> 

<* y > * ^ ° 0 X 

t " w/> *'° 0 .., v»3*'/- vsTrr-'-^ 

.r^ r * C> V I,***, > »" C& S S 

^ 55 S* ^ -V a'o v 

- % ,& 

V v 

AX' ' J ,j^ "1 1 a? <s* > >t=aiiBiiiiiie^ rv <xX' <S> 

■* 




* -£y c A 

N c « *%, a^ N ^ 1 8 ♦ 



/ %u\v^ 

<S^ s 

0_ y ^ 

^ <x 

^ * r> n 

0° V 

O O 

V 

* ^ 


\\ > *V 


^ ^Kj '*> 

& <t — *T ^ ^ ^ 

O y n . ^ .(a 

^ v 1 B * 'c> .0^ c 0 

i O Or 4 

^ * <«, 

^ ,; o 0 X ® 

<r 


: A v ^ 


>- 

V N<t » ' * o, * '"" * * >°% * 3 N ” V 

7 





^ u . l/ 

•A i 

O y ,, . ^ 

-/- ° * v 

^0 

♦% 

■v ^ 

0° v ^ 

, ■>> 


^ ■< . '^o o^ 

O r 


i 1 ^ 


vO -<r 


y 


° A ^ v 'V 

A> 4 A <>> 

. ^ A ( ^r\ w ’'"^ 

^ * S < \ , i y 0 * X ^ <* 

p o o 5 ^ n ^ 

_ - Mvvr ^ Vv- Cs*. A, ‘-r /'.y.-W " 

c^ y « r> -<£61/** * ') 

* .0 N 0 r ^> * „ , . * S a0 v 

/V O v ^ v 0 / ^ s 1 *■ * * - 

y ^ v <5 c^ 

^ ^ Y ' 


A v ^ 


M v-. 

< ^‘ i <-> 




«» C 

>, <1 V> <<* ^ 

^ w ^ ^ ** 01 v v 

y 0 ^ JL ^ ^0 X v, < , 

^ 1 e ♦ ^o_ 0^ c 0 N -<p 

>* ^ ^ 
o o' 




xtevvh z 'X s 

^ V, o ^ 

' ,\ V . V 1 . , %■ 4 0 * . * A° V 

^ 4W\ o 0 ' . c 

^\\ t M?(\ //sZ2^ * v z. 















































" ' %. * 

* 





-S' 

&£.''*■ \* qO C' g> 

*>-. » g , i 6 A 0 , , * , r£* * o h o ' \ v v * 0 

* o r > . <v s s ; * o v * * 0 * 



T r i 



* ^ r 

* o«, 

"> ^ V 

° & * ‘SiS * v> av 

° %- v ° ^iil^L - AP a'V . 


l 






^ ° \t 5 ^ *■ 

> \v ^ + 

C b '* to ’* ,A V % A' 

N V v ,.•<*», y> " ,A 

f <p v- <? ^ V 

* \V or rT\ V (^^ Al ° <1^ 

- ** <sy • ° «? w 


"'•%/* N ° V< ' tfl ^ V 8 1 ' A 0 V \s 

v. ^ a* * 

k «cSPl %JAz i 

” A^ V ® „. „» wv , 

_.. X* - ^ + <& x „ 

« K ~ A u K C- * * * * S S A A .,. %+ * 0 * y a N C <p 7 * * s s A 

*»•’“»,% \i* *' AAl* °o 0 °' .‘A'A*' *+ //“ 

A n j* ; ~ Ay * „ <- < A ^ ^ -v 

■ .jfltiS*- °oo' *+r 

* sail _ * 

v- 



.y 


$% 







■A%a ' MK° %/ * 

c ^ ' ’ ° -A v *v “ 

& - ° 





° ,«5 Ai. 

P '~ r <^ 0 ^ 

^ > \0 k * s Lo-J^ CA 

... - A ••- > <v 






•) N 



A * 
</• <$ 


A- -sfj 

y -^v a - 

; x° ’, 

., rL^ l' ~ { -'Z/ x/ j 

V * v * °p > Sr ^ ^ o 

r - ^ * 


vr, 



^ ^'"/ t . 

S rgMzs. * # s 

^ aX 




aC- •* 
, *<> l> 



° f ' p - ° 

s '- x" 

% 



C ° - y * o H o ’ ^ ^ - „ , , 

-v V N ^ ^ 41 o /• ^ 

V** .* %/ 

> '-P, 


v ° n c ♦ << *l x ** S '/V v 18 ♦ 

*> r>CNrv ^ ^ 





* v> 

^ v . w ^ <t? <?* 

r v 

y o » * * aO 

°- 0°. t0 JL%^ V 

& ^ 


o 


A y 


'V 


o 


r O0^ 


° kA 1 ^ 


* 0 /■ 


X ► / 

^ v ^ 0 / 

<1 



"<*S 1 ** %K ^ 


A -K. /■ 

° c° 

z: ^ ^ 

- 

v •; 


*- 


^8 . A - V 

^ .9 s 

v K» Al " C^ * 

\ X>X//>) c "V Cl^ o 
\Kcru///sh y <*£ >• 


s'N'A % 'o,,. 

* A » 1 1 * « - 

I'D . v /x?^, ^ O 

A ^ J^/ 7 /%^, * 

S ^ \\l//y^Z^- . <y V 

4 o 0 x 



o A ^‘ <V O M/ ^ xw ^ . 

,\v • /> 14/ \N ^ v 

^ A ^ .Sp 

A <1, * o « x * A> 

^ ,0^ > oN 


3 O 


y 




° o5 ^ ^ 

o > ^ > r 

O-v ^ -\ Vj '-'u 

v> “' l ‘°' ^ ''jUbIa c A 


r- 


* x 


V'“V^>\ 0 * 6 „ v' ,t ‘ a V n 

o°\»W.yA,_ *' 




' A- v^ ; 



















































